Der Jasager
(He Who Says Yes)

Opera in Two Acts by Kurt Weill
Text by Bertolt Brecht
English translation by H.M. Potts

Dei Neinsager
(He Who Says No)

Text by Bertolt Brecht

March 5 - March 27, 1999
The Connelly Theatre
220 E. 4th St. (between Avenues A & B)
New York, NY

Used by arrangement with Stefan Brecht, and arrangement with European American Music Corporation, agent for the Kurt Weill Foundation

Directed by Jean Randich

Grand Chorus



Teacher
Boy**

Mother
Students

Elizabeth Chiang*
Ching Gonzalez*
Timothy Ford Murphy*
Eileen Rivera*
Alan Muraoka*
Lexine Bondoc*
Kelly Jordan Bit*
Lydia Gaston*
Richard Ceraulo
Peter Kim*
Thomas Kouo*

Musical Director
Set Designer
Lighting Designer
Costume Designer
Sound Designer
Flyer Designer
Stage Manager
Publicist
Assistant Stage Manager
Assistant Stage Manager
Sound Engineer
Technical Director
Sound Board Operator
Electrician
Electrician
Wardrobe
Box Office Manager
Box Office Manager
House Manager
Crew
Scenic Painter
Scenic Painte

Miriam Daly
Klara Zieglerova
Stephen Petrilli
Elly van Home
Robert Murphy
Casey Koh
Courtney Phelps
Sam Rudy/Shirley Herz Associates
Mark Joseph Lawrence
Cristina Sison
Deniz Akyurek
Tony Rust
Jennifer Acomb
Ann-Marie Brady
Danielle Maul
Erika Hughes
Lesly Romero
Andy Schilling
Kristin Jones
Anthony Ferrer
John Brophy
Laurie Mead

*appearing courtesy of Actors' Equity Association
** Ms. Bondoc performed March 5-12 and March 23-27. Ms.Bit performed March 3-21.

The following note is excerpted from an essay by Brecht on "The German Drama: pre-Hitler." published in English in Left Review, London, July 1936. The full text appears in Brecht on Theatre, translated and edited by John Willett, Methuen, 1964.

Briefly the aristotelian play is essentially static; its task is to show' the world as it is. The learning play (Lehrstuck) is essentially dynamic; its task is to show the world as it changes (and also how it may be changed). It is a common truism among the producers and writers of the former type of play that the audience, once it is in the theatre, is not a number of individuals but a collective individual, a mob, which must be and can be reached only through its emotions; that it has the mental immaturity and the high emotional suggestibility of a mob. We have often seen this pointed out in treatises on the writing and production of plys. The latter theatre holds that the audience is a collection of individuals, capable of thinking and of reasoning of making judgments even in the theatre; it treats it as individuals of mental and emotion al maturity, and believes it wishes to be so regarded

What we must learn above all is consent.
Many say yes, and yet there is no consent.
Many are not asked, and many
Consent to wrong things. Therefore:
What we must learn above all is consent.

Brecht, He Who Says Yes/He Who Says No

Those who see all creatures in themselves
And themselves in all creatures know no fear.
Those who see all creatures in themselves
And themselves in all creatures know no grief.
How can the multiplicity of life
Delude the one who sees its unity?

The Upanishads