REVIEW: Mother Courage and Her Children at Newcastle Live Theatre

Isango Ensemble & Ensemble ‘84 Presents

Mother Courage and Her Children

Newcastle Live Theatre

Until Saturday 1 November 2025

Written by Bertolt Brecht

Translated and adapted By Lee Hall

Directed by Mark Dornford-May

Music by Mandisi Dyantis

It's always a treat when a theatre in the North East tackles a true classic, and this week, Newcastle's Live Theatre is hosting one of the biggest: Bertolt Brecht's renowned epic, Mother Courage and Her Children. Widely considered by some critics to be the greatest play of the 20th century, this searing indictment of war is in Tyneside on a limited engagement. 

A landmark of dramatic literature, this seminal work, written in 1939 with significant contributions from Margarete Steffin, presents a monumental challenge to any company. So how they handle the task of bringing Brecht's challenging and timeless drama to the stage?

The play is historically set against the brutal backdrop of the 17th-century Thirty Years' War (1618–1648), a chaotic period spanning much of Europe. The narrative focuses on the unforgettable, eponymous character, Anna Fierling (Paulina Malefane), a wily canteen woman known as Mother Courage. Determined to make a ruthless livelihood, she travels continuously with her cart full of provisions, following the Swedish Army and seeking profit amidst the endless bloodshed. The audience follows Mother Courage across 12 years of conflict as she attempts to connive and struggle alongside her three children: Eilif (Brodie Daniel), Kattrin (Noluthando Boqwana-Page), and Schweizerkas/Swiss Cheese (Joseph Hammal).

Yet, the play's historical dressing belies its immediate, white-hot urgency. Brecht penned the piece specifically in response to the rise of Fascism and the German invasion of Poland in 1939, making its thematic purpose clear: to demonstrate the devastating effects of conflict and the moral blindness of those who attempt to financially benefit from it. Structurally, this is a key example of Brecht’s epic theatre, employing techniques like the Verfremdungseffekt (estrangement effect). This design intentionally distances the audience from sentimental emotional involvement, forcing us instead to intellectually confront the socio-political issues at the heart of war itself. It's an essential piece of drama that remains, sadly, tragically relevant today.

The show opens with the call to arms. The idea that war is a positive and necessary state of affairs is reminiscent of the propaganda that was used in Germany to ready the people for the impending battles. Soon we are introduced to Mother Courage who is doing well in supporting the conflict. By selling from her cart she is able to make a living but one by one her children find  themselves brought closer to the action in the war with varying consequences. Brecht being Brecht means that the audience is in a different place at the end of the emotional rollercoaster. Whilst you feel for the situation there is that distance from the characters. Certainly the show is effective in making you both feel and think.

This show is stripped down and this adds to the atmosphere. It is also interesting to note that the mix of a South African and a Northern English cast in the accents works far better than you'd imagine. The music and sound effects are also a part of the emotion. The music is created on acoustic percussion instruments with the ensemble adding their voices. They ensemble also add the sound effects ranging from wind through to bird song. This combination of music and sound adds to the kinaesthetic feel of the show.  I loved the movement and music. The cast stay on the stage and yet they could leave a central character feeling alone as much as they can fill it with incredible routines.

There is also song too.  In a talented ensemble, Paulina Malefane really stands out in the titular character. Her sharply observed role and fabulous singing voice combined to create a really memorable performance. 

This, as I've already said, is a timely production as Europe feels less secure. A really engaging performance that keeps up a lively pace makes the 100 minutes fly by. I'm glad there was no interval as that kept the pressure and momentum going. The show managed to stay both entertaining and inspiringly provocative too. 

Review: Stephen Oliver

Photos: Keith Pattison

Tickets: 

https://www.live.org.uk/whats-on/mother-courage-and-her-children 

Approx. 100 mins, no interval

Trigger Warnings: Contains strong language, loud noises, flashing lights and adult themes.

Age Limit: 12+ (recommended). Under 16s must be accompanied by an adult.