Man to A Wales MillenniumCentreProduction Translated byAlexandraWood #BAMNextWave no intermission LOCATION: RUN TIME:1hr, 15mins DATES: By ManfredKarge

BAM Fisher (Fishman Space) NOV 7—11at7:30pm

Executive Producer Joseph V. Melillo, President Katy Clark, Vice ChairmanoftheBoard William I.Campbell, Chairman oftheBoard Adam E.Max, Brooklyn AcademyofMusic The Shubert Foundation,The Shubert Inc. The SHSFoundation The Francena T. Harrison The AchelisandBodmanFoundation provided by: for theateratBAM Major support Season Sponsor: Foundation Trust BAM Fisher ABOUT Man to Man

Man to Man Manfred Karge’s Man to Man tells the story of Ella: a woman forced to adopt the identity of her dead husband in Performer Production Manager order to survive in Nazi Germany. Maggie Bain Martin Hunt

Compromising her own identity for Playwright Company Stage Manager survival, Ella is plunged into a new Manfred Karge Sarah Thomas masculine world of beer, schnapps, and poker—a claustrophobic existence Translation Technical Stage Manager dominated by the fear of discovery Alexandra Wood Angus Foster and the changing face of authority in a volatile 20th-century Germany. Directed by Assistant Stage Manager

Bruce Guthrie & Scott Graham Katie Bingham Shunted from one memory to another,

the audience experiences the full force Set and Costume Design Production Electrician of this all-consuming one-woman play, Richard Kent Mollie Tuttle confronting the horror of the Second World War from a unique and deeply Lighting Design American Stage Manager personal perspective. Rick Fisher R. Michael Blanco

In this new English adaptation of the Sound Design German masterpiece by Alexandra Mike Walker The Actors are appearing with the per- Wood, directors Bruce Guthrie and mission of Actors’ Equity Association. Frantic Assembly’s Scott Graham Video Design re-imagine this seminal text alongside Andrzej Goulding The American Stage Manager is a a stellar creative team. member of Actors’ Equity Association.

Music composed by The production was created at Wales Matthew Scott Millennium Centre in February 2015 and transferred to the Edinburgh Fringe Voice & Dialect Coach Festival in August of that year. Hugh O’Shea

Produced by Pádraig Cusack

Wales Millennium Centre’s license to present Manfred Karge’s Man to Man is granted by Rosica Colin Limited, London, by arrangement with henschel SCHAUSPIEL, Berlin

Ernst Busch Acting School in Berlin. He BRUCE GUTHRIE has appeared in Hauptmann’s Die Ratten Director (The Rats), as well as in Wedekind’s Lulu, at the Maxim Gorki Theater. In Bruce Guthrie recently directed a new UK the last few years Karge has been active Who’s production of Jonathan Larson’s legend- as an actor and director at the Berliner ary musical Rent (St James Theatre and Ensemble, taking major roles in Richard UK tour); Constellations by Nick Payne II, Mother Courage und Ihre Kinder, and (Singapore Repertory Theatre); The Last Die Heilige Johanna der Schlachthoefe. Mermaid with Charlotte Church (Festival Who His productions include Schweyk in the of voice, Wales Millennium Centre); Man Second World War, Fear and Suffering to Man by Manfred Karge (Wales Mil- MANFRED KARGE of the Third Reich, The Caucasian Chalk lennium Centre and Edinburgh Festival Author Circle, and The Hanns Eisler Revue. 2015); Lotty’s War by Giuliano Crispini Karge has two books published by and Clare Slater (UK Tour); Bakersfield Manfred Karge was born in 1938. After Alexanderverlag, Berlin. Mist starring Kathleen Turner and Ian Mc- drama school, he was invited by Helene Photo: Maggie Bain by Wolf Marioh Photo: Maggie Bain by Wolf Diarmid (Duchess Theatre); An Incident at Weigel—world-famous actor, director, the Border by Kieran Lynn (Finborough & ex-wife of Bertolt Brecht, and one-time ALEXANDRA WOOD Trafalgar Studios); The Merchant of Ven- head of the Berliner Ensemble—to join English Language Author MAGGIE BAIN ice, Othello, and Twelfth Night (Singapore the Berliner Ensemble in 1961. In 1963 Actor Repertory Theatre, Fort Canning Park, he began work with Matthias Langhoff Alexandra Wood is an award-winning Singapore); and Stories by Heart, written and also started his career as an actor in British dramatist. Her plays include The Originally from Scotland, Maggie Bain by and starring multi-award-winning actor feature films. Human Ear (Paines Plough); Ages (Old grew up in England, moving to London John Lithgow (Lyttelton NT). Guthrie also Vic New Voices); Merit (Plymouth Drum); for drama school. She recently completed wrote and directed events celebrating the In 1969 Karge and Langhoff moved to the The Initiate (Paines Plough, winner of filming First & Only, a film adaptation of centenary of the Welsh Guards in 2015. Volksbuehne, East Berlin. In 1975 they a Scotsman Fringe First); The Empty Peter Flannery’s best-selling novel of the These took place at the Royal Welsh staged the premiere of Heiner Mueller’s Quarter (Hampstead); an adaptation of same name. Other credits include Emma College of Music and Drama and the Die Schlacht (The Battle). Productions Jung Chang’s Wild Swans (Young Vic/ Rice’s A Midsummer Night’s Dream Principality Stadium, Cardiff. followed in Hamburg, Geneva, Cologne, ART); The Centre (Islington Community (Shakespeare’s Globe); Man to Man and Hanover. Claus Peymann installed Theatre); Unbroken (Gate); The Lion’s (Wales Millennium Centre and Edinburgh Karge at the Schauspielhaus Bochum. Mouth (Rough Cuts/Royal Court); The Fringe Festival 2015); The Blood Is Strong SCOTT GRAHAM Productions took place in Paris, Zurich, Eleventh Capital (Royal Court); and the (Finborough Theatre); Beautiful Burnout Director Stuttgart, and other cities. In 1982 radio play Twelve Years (BBC Radio 4). (Frantic Assembly, UK Tour); Henry V and the world premiere of Karge’s first play A Doll’s House (Theatre Delicatessen); and Scott Graham is artistic director and co- Jacke Wie Hose was staged at the Short plays include Pope’s Grotto (Paines Love of the Nightingale (Rough Fiction). founder of Frantic Assembly, for which Schauspielhaus Bochum, directed by Plough/Come to Where I’m From); My TV and film credits include Happiness he recently directed Things I Know to Karge. Under the English title Man to Name Is Tania Head (Decade/Headlong); (David Austen Studios for Channel 4/Ran- Be True, No Way Back, Othello, and Man, Tilda Swinton played the character, and work for the Royal Court, Oxford dom Acts); Making Ugly (Vernon Films); The Believers. He has been nominated Max Gericke (Traverse Theatre, Edinburgh School of Drama, Rose Bruford College, Lady Randy in Lady Randy: Churchill’s for an Olivier and a Tony Award for best 1987; Royal Court Theatre 1988), and Dry Write, Nabokov, and Curious Mother (Channel 4 & Flame TV); and choreography for the multi-award-winning the production was filmed. Karge’s second Directive. Wood is a past winner of the Crisis Control (BBC). NT production The Curious Incident of play Conquest of the South Pole followed George Devine Award and was the Big the Dog in the Night-Time. For Frantic (Traverse Theatre 1988; Royal Court Room playwright-in-residence at Paines In addition to her theater, film, and televi- Assembly he has co-directed Little Dogs, 1988) and was also filmed. Plough in 2013. sion work Bain is also a Learn & Train Lovesong, Beautiful Burnout, Stockholm, Practitioner for Frantic Assembly, teaching pool (no water), Dirty Wonderland, With Claus Peymann, Karge went to the physical theater skills and devising tech- Rabbit, Peepshow, and Underworld. His Burgtheater Vienna in 1986 to stage work niques for schools and theater companies director/performer credits include Hymns, by Brecht, Fuehmann, Jelinek, and others. throughout the world. Tiny Dynamite, On Blindness, Heavenly, From 1993 onwards, he has managed the Sell Out, Zero, Flesh, Klub, and Look seen with the Monteverdi Choir’s triple bill cible and UK Tour); Oliver! (Grange Park Opera); and Silent Night (Philadelphia Back in Anger.Other directing credits of Orfeo, Ulisse, and Poppea (UK, Europe, Opera); Outside Mullingar (Ustinov, Bath); Opera, US tour). Goulding was recently include Man to Man at Wales Millennium New York), and forthcoming work includes The Colby Sisters Of Pittsburgh, Pennsyl- nominated for the first ever Whatsonstage Centre and Home for the National Theatre Billy Elliot (Tokyo); Forbidden City (Singa- vania, A Boy and His Soul, Paper Dolls, award for video design (Groundhog Day) of Scotland. His choreography/movement pore); and Cell Mates (Hampstead). and Multitudes (Tricycle); Bad Jews, and a Welsh Theatre Award for design direction credits include The Merchant of (Ustinov Bath, St James, Arts, Haymarket, (The Last Mermaid). agoulding.com Venice for Singapore Repertory Company; and UK Tour); Handbagged (Tricycle, Praxis Makes Perfect for National Theatre MIKE WALKER Vaudeville, and UK Tour); Macbeth, Shef- Wales; The Canticles at Brighton Festival/ Sound Design field Mysteries (Sheffield Crucible); The MATTHEW SCOTT Aldeburgh Music; Husbands & Sons, Port, Dance of Death (Donmar Trafalgar); The Composer Hothouse, and Market Boy at the National Mike Walker trained at Guildhall School of Merchant of Venice (Singapore Repertory Theatre; and Dr. Dee for Manchester Music and Drama in London. His many Theatre); Murder Ballad and Josephine Matthew Scott trained at the Guildhall International Festival/ENO. With Steven designs for the National Theatre include Hart Poetry Week (Arts Theatre); Unfaith- School and City University London, at the Hoggett and Bryony Lavery, he created It Three Winters, Chewing Gum Dreams, ful (Found 111); Watership Down (The Berlin Hochshule für Musik and in New Snows, a National Theatre Connections Home, Hymn, St. Matthew Passion, Major Watermill); The Cocktail Party (Print York, where he worked as music assistant play and, with Steven Hoggett, wrote The Barbara, Caroline or Change, and Jerry Room); Communicating Doors (Menier to Lotte Lenya. He has written music for Frantic Assembly Book of Devising The- Springer–The Opera, for which he won the Chocolate Factory); Neighbors and Clock- many plays including premieres by Sir atre (Routledge 2nd ed.). Scott Graham is first Olivier Award for best sound design. work (Hightide Festival); Man to Man Tom Stoppard, Alan Bennett, Richard a visiting professor in theater practice at Recent productions include Lady in the (Wales Millenium Centre); The El Train Bean, Harold Pinter, David Edgar, Mark Coventry University. Van (TRB); Forbidden City (Esplanade (Hoxton Hall); Disco Pigs and Mrs. Lowry Ravenhill, and Howard Barker. He was Singapore); Great Wall (Drama Centre, and Son (Trafalgar Studios 2); 13 (NYMT, a member of cult systems band The Lost Singapore); Our Ladies of Perpetual Apollo), and Titanic—Scenes from the Jockey, and has produced Trans Global RICK FISHER Succour (NTS/Duke of York’s); Rent British Wreck Commissioners Inquiry: Underground, Anthony and the Johnsons, Lighting Design (UK Tour); Wild Honey (Hampstead); 1912 (MAC Theatre, Belfast). Martha Wainwright, and Faithless, among The Last Mermaid (Wales Millennium others. His work in television includes Born in Philadelphia, Rick Fisher is the Centre); Flowers for Mrs. Harris, (Crucible, Middlemarch and Drop the Dead Donkey. winner of two Olivier Awards and two Sheffield); Hobson’s Choice (Vaudeville); ANDRZEJ GOULDING Films include The Landgirls, The Feast of Tony Awards for best lighting design Hapgood (Hampstead); For Services Video Design July, and King Girl. He is music consultant for An Inspector Calls and Billy Elliot Rendered (Chichester); The Tempest (Fort to the National Theatre where he was (Broadway). His recent theater designs Canning, Singapore); Temple (Donmar Andrzej Goulding works as a video, head of music for 10 years, and he is include Consent (National Theatre); Filthy Warehouse); Taken at Midnight (Chich- projection, and set designer internationally currently a professor at the University of Business (Hampstead); Rent (St. James, ester; Haymarket); Arturo Ui (Chichester; across all forms of live performance. Southampton in the UK. London, and national tour); What’s in a Duchess); Crazy for You (Novello; Regent’s His video designs include Groundhog Day Name (Birmingham); Florian Zeller’s The Park); Drawing the Line (Hampstead); and (Broadway, Old Vic); People, Places and Father (Gate, Dublin); Strife (Chichester); The Herd and Disgraced (The Bush). With Things (West End/ National Theatre, St. HUGH O’SHEA Stella (London/Amsterdam); The Last his company, Loh Humm Audio, Walker Ann’s Warehouse, NYC); Sweet Bird of Voice and Dialect Coach Mermaid with Charlotte Church (Wales provides audio design and engineering Youth and The Boy in the Striped Pyjamas Millennium Centre); Judas Kiss (BAM services for theaters. (Chichester Festival Theatre); No’s Knife Hugh O’Shea’s theater credits include The Spring 2016, Toronto, London); Waste (Old Vic Theatre, Abbey Theatre); The Maids, Doctor Faustus, and The Com- (National Theatre, London); The Audience Suicide and From Morning To Midnight mitments (Jamie Lloyd Company/ ATG); (West End and Broadway); An Inspector RICHARD KENT (National Theatre); Room (Theatre Royal Man to Man (Wales Millennium Centre); Calls (on tour), and Matthew Bourne’s Set & Costume Design Stratford East, Abbey Theatre); Rent (St. Bugsy Malone, Herons, Cinderella, and Swan Lake (London, LA, Broadway, James Theatre, UK tour); 1984 (Northern Tipping the Velvet (Lyric Hammersmith); international tour). Richard Kent’s many design credits Ballet); Coriolanus (Donmar Warehouse); Pride and Prejudice (Sheffield Crucible); include The Country Girls (Chichester); La Cenerentola (Opera North); Into the Breaking the Code (Royal Exchange The- Musical and opera work includes Billy Dead Funny (Vaudeville Theatre); The Hoods (Peacock Theatre); The Last Mer- atre, Manchester); The Odyssey (Liverpool Elliot (current UK national tour, also Lon- Mentalists (Wyndhams); Richard II maid (Wales Millennium Centre); Hansel Everyman); Oh What a Lovely War (ATG); don, Broadway, Australia, Holland, US (Donmar Warehouse); A Winter’s Tale and and Gretel (Vienna State Opera); Relative The Light of Heart (Clwyd Theatr Cymru); tour) and Sunny Afternoon (West End and Cymbeline (The Globe); Anything Goes Values (West End); Carousel (Barbican); and Uncle Vanya (St. James); and In the UK tour). His designs may currently be and This Is My Family (Sheffield Cru- The Impresario/Le Rossignol (Santa Fe Heights (Southwark Playhouse). His tele- vision work includes Happy Valley, Peaky The Centre has been described by Lord Blinders, Nigel Farage Gets His Life Back, R. MICHAEL BLANCO Wales Millennium Andrew Lloyd Webber as the best theater Houdini and Doyle, Vera, The A Word, American Stage Manager built in the world in the last 50 years. Home Fires, and The Last Kingdom. Film Centre includes: Tombraider, Guernsey, Entebbe, R. Michael Blanco’s many credits include HHHH, Churchill, and Jungle Book. The Beauty Queen of Leenane and A Man With a vision is to inspire our nation and MARKETING O’Sheahas taught at the Royal of Good Hope (BAM); Six Characters in impress the world, Wales Millennium Cen- Joe Public Central School of Speech & Drama, Search of an Author; Karole Armitage’s The tre is the country’s home of performing art, LAMDA, ALRA, Rose Bruford, and the Predator’s Ball; Jonathan Miller’s St. Mat- creativity, and culture. An iconic landmark PUBLIC RELATIONS Identity School of Acting. thew Passion and Così fan tutte (Théâtre based in the Bay region of Wales’ Capital Elin Rees de la Ville); White Devil and Hedda Gabler City, the Centre was opened by Her Public Eye for Maggie Bain (Sydney Theater Company); Uncle Vanya/ Majesty the Queen in 2004 and is home PÁDRAIG CUSACK Twelfth Night (BAM Spring 2003, Donmar to eight resident organizations includ- SPONSORS Producer Warehouse); and Don Carlos, A Midsum- ing Welsh National Opera, BBC National The Peterson Family, Cardiff mer Night’s Dream, and Hecuba (Royal Orchestra of Wales, and National Dance Pádraig Cusack studied at Trinity College, Shakespeare Company). His Metropolitan Company. With thanks to Dublin, Royal Northern College of Music, Opera House work includes Kirov Ballet, DaisyChain PR, The Dickson Minto Manchester, and University College, Cork. Bolshoi Ballet, and Robert Wilson’s Le The Centre welcomes over 1.5 million Charitable Trust, Emma Evans, and Grace He has produced and toured productions Martyre de Saint Sebastian. visitors a year, making it Wales’ number Nelder. over four continents winning awards in one visitor attraction. Up to 1000 jobs the UK, US, and Australia. Recent projects are sustained on its 7.5 acre site and it for Wales Millennium Centre include Tiger contributes over £75m annually to the Bay/The Musical (Cape Town; Cardiff) economy of Wales. and La Voix Humaine. National Theatre credits include My Country: A Work in The Centre is internationally recognized for Progress; Jeremy Deller’s commemorative its striking architecture and was recently piece we’re here because we’re here (with declared a National Treasure by the Na- 1418 Now); The James Plays, People, tional Lottery. The Centre has a 1900-seat One Man, Two Guvnors (world tour); Grief, lyric theater designed for opera, large Phèdre (international tour); The Year of scale musicals, ballet, and contemporary Magical Thinking (European tour); Waves dance. Other performance spaces include (world tour); Happy Days (world tour); The a 250-seat studio theater, a dance house, History Boys (world tour); and The Power 350-seat recital hall, accommodation for Book (European tour). He produced the up to 200 young people, and a state-of- Abbey Theatre production of The Plough the-art recording facility. and the Stars (US tour), and his New York/ Broadway credits include My Eyes Went The Centre has predominantly been a Dark, A Girl is a Half-formed Thing, Not I/ presenting house for the very best produc- Footfalls/Rockaby (BAM Next Wave 2014), tions from across the globe, and has most riverrun (BAM Next Wave 2014), John recently embarked on producing its own Gabriel Borkman (BAM Spring 2011), work. From main stage musicals, festivals, The Pitmen Painters, Waves, Happy Days and large scale cultural events to a strong (BAM Spring 2008), Primo, and Not creative learning strategy which focuses on About Nightingales. giving a voice to all, the Centre aims to en- gage a widespread audience and increase participation in the arts. Photo: Maggie Bain by Polly Thomas privilege of literature to show her deception Can you still make plays about working Mahagonny, only to find that the songspiel Manfred Karge— as such a perfect act.” class struggles when your paying audience version he wanted to stage had been lost The Brandenburg Beckett: is made up of a much wealthier segment of in the archives. So Karge simply wrote a the last living link to A 1987 production of the play, at the society? “The middle classes,” says Karge, “Brecht-sounding” script around the songs German theater’s golden age Traverse in Edinburgh, launched the career “are interested in these struggles because and put on the show, only confessing the by Philip Oltermann of Tilda Swinton: her cross-dressing mas- they always worry about losing their status extent of his poetic licence to Weigel after the terclass in a film version five years later led and slipping down the pecking order. But, premiere had been a success. It’s late afternoon, the matinee performance to Sally Potter casting her in Orlando. Man of course, it is a problem for playwrights has just finished, and tourists are now to Man lived on even after Brunner died in interested in working class life that we don’t In the late 1960s, Karge and some others swarming round the legendary Berliner En- 2002; by Karge’s own reckoning, it has been always have the audience we wish for. It was left because they felt the theater was inter- semble theater, looking straight through the performed “on nearly every continent”, with different back when the Berliner Ensemble preting its founding father’s work too literally. old man drifting about in a checked shirt and new productions currently showing in Stock- first opened. You had whole factory brigades They began practicing Brechtian theater—but tracksuit bottoms, unaware that he’s the last holm, Amsterdam, Johannesburg, Budapest, or school classes going to the theater. A ticket without Brechtian plays—at other venues living link to the golden era of German stage. and Istanbul. used to cost 1.50 East German marks. Now around Germany, as the playwright’s rela- Only a few budding actors stop, whisper and people pay 40.” tives were withholding performance rights. stare in awe at Manfred Karge and his great In the 1980s, part of the appeal of Karge’s Brecht’s theater, Karge says, has always silver mane. monologue was that it breathed new life into Brecht has been a constant presence in been less about theorizing than about boiling a dying genre: working-class theater. “Almost Karge’s career, even though the two men things down to basics. “What I learnt from Karge, now 77, has been called “East all of the 15 plays I have written are about never met. Born in the Brandenburg region Brecht is that every performance starts from Germany’s Orson Welles” or “the Bran- little people,” he says. “I have never been in 1938, Karge was talent-spotted by the zero. Brecht never tried to confuse people— denburg Beckett”—though those aren’t interested in the lives of kings and queens. playwright’s second wife Helene “Helli” he wanted to tell stories and be understood.” comparisons he is comfortable with. “Don’t All those films about Hitler, they just bore Weigel while still at drama school and asked get me wrong,” he says, as we take our seats me; we all know the Nazis at the top were to join the cast at the Berliner Ensemble, He goes on: “I still notice a difference in the theater’s sweltering beer garden, “I pigs. To me, the most interesting thing about where he stayed for an initial nine-year stint, between actors who started out in West wouldn’t want to compare myself to Beckett. the Nazi period is how the working class then returned for good in 1993. Originally Germany and those who were trained in As a playwright, I was always the opposite. people coped.” set up by the administrators of the Soviet- the East. The western actors are often trying Beckett knew exactly how he wanted his occupied zone to invigorate East Berlin’s to express their inner state; their acting is plays to be performed. Mine don’t even have In Ella Gericke’s case, coping with National cultural life, the theater became a militant less about telling a story than discovering stage directions.” Socialism requires the same cold-hearted bastion of Brechtian philosophy after his yourself. In the East, our training was much pragmatism that led her to assume her hus- death in 1956—a cultural temple dedicated more focused on technique.” Even now, he Given such a lack of authorial ego, it seems band’s identity. In one scene, the dialogue to preserving the idea of epic theater, which says, members of the audience come up to even more remarkable that, when Karge describes the grey walls of a cell. We assume maintained that audiences should not be him after shows to praise him for eventually departs the stage for good, he’ll Gericke has been caught out and ended up fooled into empathy by the empty trappings his elocution. leave behind at least one of the great modern in prison—until we realize that she is not the of realism, but jerked into critical reflec- classics of European theater. Man to Man prisoner, but the guard. To dodge the draft, tion, if not action. If one were to believe the Is Brecht’s idea of epic theater still relevant? was originally written in the summer of 1982 Karge’s cross-dressing anti-hero has joined ensemble’s outgoing director, that original “It is—because the subjects Brecht was as a favor to Lore Brunner, Karge’s Austrian the Nazis’ paramilitary arm, the SA. spirit is currently more under threat than interested in are still alive. That’s not partner, a veteran ensemble-player who ever, particularly by the kind of postmodern necessarily good news for Brecht; he had always wanted a solo piece. An urban But while Man to Man is unmistakably showmanship that many veterans fear will might have been happy to find out that the legend, related by a friend, served as the a play about working life, it rises above be imported to the city by the new head of problems he was interested in are no longer premise: in the middle of Weimar Republic- kitchen-sink realism, mixing working class Berlin’s experimental Volksbühne theater, around. If there was no more capitalism, era depression, Ella Gericke assumes the slang with expressionist poetry and Goethe ex-Tate Modern director Chris Dercon. “We Saint Joan of the Stockyards wouldn’t need identity of her deceased husband Max in quotation, all the while pursuing a ques- are currently witnessing European theater’s to be performed. But it’s all still here, that’s order to hold on to his job as a crane opera- tion that remains relevant even in 2015: if Waterloo,” Claus Peymann recently told Ger- the mad thing. We are going in circles. The tor, precariously manoeuvring around a world human beings under capitalism are solely man weekly Die Zeit, “and sadly Germany excesses of capitalism aren’t dying down – of sweat, machismo, and cheap liquor. defined by their employment status, does has become the main battlefield.” they are getting worse and worse. And until their gender, personality, and emotional life that stops, Brecht remains relevant.” Only years after the play had premiered in matter at all? Karge is decidedly less terrified. The strict Bochum, in December 1982, did Karge  rules of epic theater may have been what This article appeared in The Guardian receive a newspaper cutting in the post that Bertolt Brecht’s short story The Job, based on first attracted him to Brecht, but he found on August 3, 2015. Reproduced by kind showed that his play was in fact based on a the same true-life story as Man to Man, puts breaking them easier than many people do permission of The Guardian. true story: the real Ella had managed to it succinctly: “Woman became man within now. In his first year at the ensemble, he and keep up her act for a total of 12 years. “And days, via the same route that man had be- a friend convinced Weigel to let them put on I thought I had merely been claiming the come man over the course of millennia: the Brecht’s opera Rise and Fall of the City of process of production.” MEMBER

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