A good-humored, simple-minded man is a stock character used by storytellers for thousands of years in many different styles and settings. These characters are usually secondary or adjuncts to the main character, often as a sidekick or employee. Court Jesters are a typical example of such characters: jokesters who can speak truth to power through humor. They are usually depicted as naive and treated as ignorant or stupid, but they deliver critical insights into the story's structure.
he Good Soldier Švej and His Fortunes in the First World War, adapted and directed by Vit Hořejš, is about such a character. Jaroslav Hašek created the story in the aftermath of World War I as a dark satire of the political, military, religious, and other institutions in the failed Austro-Hungarian Empire and as a commentary on the futility of war.
It was intended to be six novels, but only three and a half were finished when Hašek died in 1923. The fourth was completed in 1923 by journalist Karel Vaněk at the request of Hašek’s publisher, and Hořejš's adaptation is of those four books.
The adaptation is presented by a superb cast with a chemistry usually seen in farce ensembles. The actors play off each other in perfect sync with the story's actions. If you enjoy watching a beautifully executed, funny, and thought-provoking theatrical production, it is a show to visit.
Josef Švejk (Shvayk), the protagonist of the novels, is a character-type taken from European satires inspired by and drawn from catastrophes, both natural, such as earthquakes, and unnatural, such as war. Voltaire's Candide is a prime example of this type of character that exhibits extreme credulousness or sentimental simplicity. These characters repeatedly manage to frustrate social authority and expose its stupidity, but it is often unclear whether the character is stupid, incompetent, or just pretending to be so.
This production begins with a prologue in which the cast mills around, speaking over each other while appearing to prepare for the performance. The director finally gets everyone into position for the opening, with most of the cast exiting the stage. The audience is now introduced to Švejk as he leaves his apartment after learning of the death of Archduke Ferdinand, who he mistakes for one of the Ferdinand's that he knows. His following location is a local tavern where, during a conversation with a stranger, he manages to get arrested for treasonous remarks and thus begins his adventures with the political and social institutions that define the Empire.
On each step of the journey, the cast takes on multiple roles, appearing to be the puppeteers of marionettes that represent the characters. In this case, the marionettes are more props to the cast's actions than the focus of the action. The actors move from character to character with ease throughout the show. In some scenes, they are soldiers; in the next, they are policemen, shopkeepers, or villagers.
One of the interesting aspects of the role-switching is that it includes the character of Švejk being played by each cast member. This approach provides different interpretations of the actions of the character, with almost an improvisational flavor. In several cases, some actors commented about getting a chance to take on the role of Švejk.
The cast is impressive, many of whom have been a part of the Czechoslovak-American Marionette Theater for many years. This intrepid company comprises Deborah Beshaw-Farrell, Michelle Beshaw, Rocco George, Theresa Linnihan, Gage Morgan, Sammy Rivas, Ben Watts, and the master of the company, the playwright, director, and cast member Vit Hořejš.
In addition to the superb cast are the other members of the ensemble, the marionettes. These incredible, hand-made creations range from small pieces of less than a foot in height to large pieces two and three feet in size. All cast members were adept at manipulating the marionettes to add an extra dimension to the show. There is also a sequence where shadow puppets are effectively used. The craftsman who created the marionettes are Jakub “Kuba” Kerjči, Václav Krčál, and Ivan Antoš for the large ones, with the toy-size ones done by Miloš Kasal.
Two other areas of the production that stand out are the costumes and the sets, both of which were designed by Theresa Linnihan. Her costume design cleverly reflects those of the marionettes and is almost a cartoon-like representation of the period. They are also intended to make costume changes relatively easy. The set design is equally clever, creating different environments from the same pieces yet looking completely different. One of the interesting features of the larger pieces is that they are shaped like coffins, with some having small window-like openings in the coffin shape. This design feature is also used in panels used as backdrops. The coffin motif is a subtle commentary on a fundamental aspect of war, particularly World War I. Finally, Eric Norbury's lighting design effectively ties everything together.
