When Anita La Selva first encountered British playwright Simon Stephens’ 2016 adaptation of Bertolt Brecht and Kurt Weil’s iconic musical The Threepenny Opera I literally had to peel myself off the wall,” the award-winning director and Artistic Director of Unbridled Theatre Collective recalls “The text and lyrics were so upfront and unapologetic – and very funny And I knew immediately that the piece required a bold and daring approach.” Unbridled Theatre’s brand-new staging of Stephens’ adaptation of the play at the VideoCabaret Theatre is just that: a fearless full-throttle production boasting a “steampunk-esque” aesthetic and bristling with satire Based on Victorian John Gay’s The Beggar’s Opera Brecht and Weil’s The Threepenny Opera is a scathing satire that dives into the underbelly of Victorian London The story follows seductive anti-hero Macheath who slashes his way through the lives of lovers and lawbreakers while Polly Peachum—once a picture of goodness—emerges as an unexpected criminal mastermind Known for musical standards like “Mack the Knife” and “Pirate Jenny” and seedy hotels – offering an unflinching look at power and survival  “What I love about this 2016 adaptation by Simon Stephens is that it is more dangerous and confrontational than previous English translations,” La Selva explains “Stephens doesn’t pull his punches with who and what his characters represent and the resulting “adaptation is what I imagine to be closer to what Brecht Weill and [Elisabeth] Hauptmann originally intended: satirical Setting the show inside a retro-futuristic after-hours nightclub allowed La Selva to preserve the story’s Victorian backdrop “I wanted to respect Brecht’s desire to create theatre that engaged audiences in these socio-political discussions while also creating an exciting and entertaining theatrical spectacle,” she explains “The steampunk concept/design provides a sexy alluring environment in which to explore the brothels and criminal underworld of the piece.” This environment also amplifies Stephens’ more feminist reimagining of key characters – particularly Polly Peachum “She functions as the voice of reason in the play but in earlier versions never really takes her rightful place,” La Selva notes confident woman – a ‘boss wife’ who ends up managing an entire criminal empire.” The deliberate blend of visual spectacle and political charge was foundational to Brecht’s Epic Theatre – and this is something La Selva is keen to preserve especially in this moment of accelerating and unapologetic global inequality “The play is incredibly timely,” she asserts “We just have to look at what is going on in the world to see how it resonates with the current political climate especially south of the border – with the rich getting richer by denying the poor their primal needs: food education and comfort.” And La Selva aims to meet the moment directly: “As a director and in step with Simon Stephens’ very modern adaptation use humour and spectacle to convey these deep and disturbing messages.” La Selva celebrates her partners in crime: a fierce ensemble of emerging artists who share her vision and have thrown themselves bodily into the artistic and practical challenges of mounting the production: “They are trained and all carry a strong desire to engage in meaningful work that has a social conscience,” she notes “What impresses me most about this group is their determination as artists to create opportunities for themselves… willingly diving into the producing and administration duties that are so necessary to get any show up and running – while taking on these huge roles and knocking it out of the park as performers.” These dynamic artists include performers Liam Armstrong And they are supported by an equally strong creative team: Musical Director Justin Hiscox and Costume Designer Michelle Vanderhayden Mounting The Threepenny Opera “has been one of the highlights of my career,” La Selva reflects “I love coming into the rehearsal room – to be met with all sorts of ideas The level of engagement and love for the craft in this group is palpable – as is each artist’s desire to do their best work every day.” And what does she hope audiences will take away from the edgy I hope that people have an enjoyable evening at the theatre!” La Selva smiles before elaborating: “There is so much this show has to offer—Kurt Weill’s incredible jazz-infused musical score and a no-holds-barred approach to performance that will excite and exhilarate.” And with that bar met she also hopes to prompt some reflection: “Second people will leave the theatre thinking about the themes in the play and reflecting upon their own role in this precarious and precious world we live in.” Unbridled Theatre Collective’s The Threepenny Opera runs May 8–17, 2025 at the VideoCabaret Theatre (10 Busy Street, Toronto). Content advisory: coarse language, and depictions of sex and violence. Tickets are available at Ticketscene.ca. © Arpita Ghosal, Sesaya Arts Magazine 2025 Kathryn D It is with heavy hearts we announce the passing of Kathryn Brecht on Monday And I know He watches me. My family members have Read Obituary Brecht","givenName":"Kathryn","familyName":"Brecht","additionalName":"D.","birthDate":"1952-12-27","deathDate":"2025-01-20"}{"@context":"https://schema.org","@type":"NewsArticle","image":{"@type":"ImageObject","url":"https://cdn.f1connect.net/photo/tributes/t/8/r/207x207/7989606/Kathryn-Brecht-1737466556.jpg"},"headline":"Kathryn D Visitation & Funeral Information","description":"Honoring the memory of Kathryn D visitation and funeral information.","articleSection":"Obituaries","articleBody":"It is with heavy hearts we announce the passing of Kathryn Brecht on Monday 2025.\n\nI sing because I'm happy,\r I sing because I'm free,\r For His eye is on the sparrow,\r And I know He watches me.\n\nMy family members have always been constants in my life: Mommy (Margaret) My family expanded to include Paul's parents and siblings: PapPap (Paul) I was fortunate to have been born into a great family I have picked up some treasures along the way namely: Paul Remember on your life's journey always take what is most important to you.\n\nFather James and mother Margaret; daughter Kristi (Gary) grandchildren Morgan (Audrey) & Riley (Ben); son Gabe (Rachel) grandchild Maggie; sister Peggy (Robert); niece Melissa (Michael) child Maeve; nephew Charles (Julie) child Brooke,niece Allison; sister Becky; nephew Sean; sister Lizzy (Gary) niece Amanda; sister Jennifer (Ted) nephews Michael Neil & Patrick; Brother Jimmy (Kim); brother Johnny.\n\nFather-in-law Paul and Mother-in-law Alyce; sister-in-law Cindy; brother-in-law Dave (Karen); niece Dana (Sean) children Anastasia and Mika; nephew Jarrod (Hali) children Jaxon & Isabelle; niece Lauren (Carlos) and children Gavin & Gemma; brother-in Law Fred (Pam); niece Alexa nephew Mark (Allie) child Yotie; brother-in-Law Mick (Christy); niece Taylor (Jake); Nephew Jake (Annie).\n\nKristi's in-laws Cheryl and Jim and Gabe's in-laws Sue and Tom.\n\nRelatives and friends are invited to join Kathryn's family for visitation on Saturday from 10:00 am - 2:00 pm at Jefferson Memorial Funeral Home A celebration of life will be held at 2:00 pm in the chapel at the funeral home Burial will be held privately.\n\nTo leave online condolences please visit www.jeffersonmemorial.com","keywords":"Kathryn D Biography","dateCreated":"2025-01-21T18:35:56.087Z","datePublished":"2025-01-21T18:35:56.087Z","dateModified":"2025-01-22T21:57:57.407Z","genre":"Obituary Brecht"}},{"@type":"ListItem","position":4,"item":{"@id":"https://www.jeffersonmemorial.com/obituaries/kathryn-brecht/obituary","name":"Obituary"}}]}Kathryn D Brecht's ObituaryIt is with heavy hearts we announce the passing of Kathryn Brecht on Monday My family members have always been constants in my life: Mommy (Margaret) My family expanded to include Paul's parents and siblings: PapPap (Paul) Remember on your life's journey always take what is most important to you Father James and mother Margaret; daughter Kristi (Gary) grandchildren Morgan (Audrey) & Riley (Ben); son Gabe (Rachel) Neil & Patrick; Brother Jimmy (Kim); brother Johnny Father-in-law Paul and Mother-in-law Alyce; sister-in-law Cindy; brother-in-law Dave (Karen); niece Dana (Sean) children Anastasia and Mika; nephew Jarrod (Hali) children Jaxon & Isabelle; niece Lauren (Carlos) and children Gavin & Gemma; brother-in Law Fred (Pam); niece Alexa nephew Mark (Allie) child Yotie; brother-in-Law Mick (Christy); niece Taylor (Jake); Nephew Jake (Annie) Kristi's in-laws Cheryl and Jim and Gabe's in-laws Sue and Tom Relatives and friends are invited to join Kathryn's family for visitation on Saturday To leave online condolences please visit www.jeffersonmemorial.com Share a story where Kathryn's kindness touched your heart Describe a day with Kathryn you’ll never forget The right-hander was chosen 38th overall in the 2024 draft If you buy something from an SB Nation link, Vox Media may earn a commission. See our ethics statement Brecht could have been an early draft pick coming out of high school in 2021 but he wanted to play college football as a receiver at Iowa When that didn’t work out as hoped (due in part to concussions) Brecht concentrated on baseball full-time starting as a sophomore 22-year-old right-hander then showed enough promise on the mound to earn an over-slot (by $250k) $2.7 million bonus from the Rockies as the 38th-overall pick of the 2024 draft How about a high-80s slider that most scouts consider to be plus-plus and a fastball that touches triple digits The rub of course is below average control of the fastball in particular Contract Status: 2024 Supplemental First Round Brecht struck out 109 batters (nearly a third of those he faced) but walked 61 (7.1 BB/9) Though there was some improvement in his draft year (5.6 BB/9 rate) it’s a major reason the Rockies were able to get Brecht with pick 38 rather than the top 10 Speaking of that draft year: Brecht again struck out a bunch of hitters — 128 in 78 1⁄3 innings pitched which is 37% of batters faced and a 14.7 K/9 rate — while compiling a respectable 3.33 ERA Brecht hasn’t thrown any professional innings yet so for now Rockies fans will only have videos like the one below from February 2023 to dream on: Eric Longenhagen of Fangraphs ranked Brecht 3rd in the system as a 45+ FV player last month after ranking him 13th overall among draft prospects complete with an 80 future grade on the slider (70 present) and a 60 future fastball grade: Walks have been an enormous problem for Brecht He had more walks than inning pitched as a freshman and 135 walks in 178 career innings for the Hawkeyes He also had among the best stuff in the 2024 draft class and has a rare combination of physicality and athleticism Brecht also has a goofy low-90s changeup with big tail and fade His secondary pitches diverge in such a way that makes it hard to stay on both of them at the same time Those right tail outcomes are absolutely baked into his FV grade Brecht looks like a potential late-inning reliever who works off of his secondary pitches more than his fastball He could be a three-pitch mid-rotation stalwart if he and Colorado can find better control Jeffrey Paternostro of Baseball Prospectus ranked Brecht 9th in their recent system ranking with a 50 OFP grade: Brecht can show you absolutely dominant stuff at times: triple-digit heat a developing split for a platoon neutralizing option even that description sounds a little relieverish—although the delivery is fine for a starter even in a more traditionalist framework of starting pitching mechanics —but you don’t have to squint hard to see a top-of-the-rotation arm…at times At other times the fastball isn’t close to the zone the slider is being shaped too much arm-side (or isn’t close to the zone) and the split is just too firm Brecht walked almost six per nine in the Big Ten year I’m probably the high person on staff when it comes to Brecht because he doesn’t need that much more command to make this work in the middle of a rotation or the ninth innings You’d like to tweak the fastball shape some too The Rockies have even gotten some pitching development gains lately so this is a better landing spot for Brecht than it might have been 5-10 years ago (Coors Field aside) but the club also probably see him through the lens of scouting from that time period which means they might just see a future ace I can squint as hard as I want and not see that right now though Brecht is just a grade (or two) of command away from being a really good pitching prospect Throw in another grade of fastball shape and he’d be one of the top ones in the draft class But there’s more of those types or arms nowadays than there used to be and a vanishingly small percentage of them ever get either of them Keith Law of the Athletic ranked Brecht 16th among 2024 draft prospects and earlier this month placed him 9th in the system: Brecht was Colorado’s second pick in the 2024 draft (the No a great selection given how good his pure stuff is Brecht played baseball and football at Iowa only giving up the sport with the concussions after his sophomore year so he could concentrate on pitching but he’s still a work in progress on the mound there’s a “but” coming — he doesn’t repeat his arm action and as a result he has always had high walk totals including 14.2 percent in his draft year for the Hawkeyes He did improve down the stretch in that area; in five of his last six starts he went seven-plus innings and walked only two or three per start trying a split-change near the end of the season He’s like a high school pitcher in a giant this isn’t a good dream — a guy who never makes it because he can’t stop walking batters Brecht’s fastball and slider are comparable to those of Paul Skenes He can sit at 96-99 mph and touch 101 with his heater which has explosive running action and superior shape to Skenes’ fastball though Brecht doesn’t locate his nearly as well his best pitch is a slider that parks at 87-89 mph and peaks at 91 with plenty of horizontal and vertical action Iowa has had Brecht use more sliders than fastballs which hasn’t helped him improve his well-below-average command of the latter pitch He also doesn’t have a lot of feel for his sparsely used splitter which averages 93 mph with promising tumble at its best He finished third in D-I with 61 walks in 77 innings last spring may never have average command and comes with considerable reliever risk But he’s also an exceptional athlete and baseball has his full attention Now that Jaden Hill is a reliever full-time Brecht is only really competing with Chase Dollander as the highest-ceiling pitcher in the system I don’t think Dollander has any weapon that approaches Brecht’s slider Dollander has much better present command and is accordingly ranked on national top 50 lists but Brecht has that kind of ability if Colorado can find the right recipe for his fastball especially though of course the risk is high that Brecht busts to some degree I ranked him sixth on my list as a 45+ FV player as a raw starting pitcher with upside and a late inning reliever fallback He could start this year in either Low-A or High-A depending on how the Rockies think his profile has evolved by the end of spring An arm like this is worth a little extra time to bake so I’d estimate a 3-4 year timeline for Brecht to the big leagues (if he’s a starter) GLENDALE, Ariz. -- Sunday's Spring Breakout showcase was the perfect unveiling for Rockies No. 5 prospect Brody Brecht A right-handed pitcher from the University of Iowa whom the Rockies selected 38th overall last summer, Brecht had a nice collegiate resume, an interesting backstory as a former wide receiver for the Hawkeyes and But because he didn’t play in the Minors after being drafted he was seen only on the back fields during instructional ball and Minor League camp After Brecht’s spotless, two-strikeout inning in the Rockies prospects' 3-1 victory over the White Sox prospects at Camelback Ranch a wider audience should want to see more from him “It’s been a long offseason -- a long time without a game -- especially after not going [to a Minor League team] after the Draft,” Brecht said “So I was really excited to go out there and play the game.” Brecht replaced starter Gabriel Hughes (who threw two scoreless innings) and came back from a 2-0 count to fan White Sox No. 29 prospect Wilfred Veras swinging, authored another swinging K of Tim Elko and worked Chicago's No. 10 prospect George Wolkow into a fly ball to right field “I just wanted to establish a fastball and let everything else play off that -- let the slider work get ahead early and then everything else plays off each other.” It’s not just Minor League fans and Rockies Nation who want to see more of Brecht snapping that breaking ball really well,” said Double-A Hartford manager Bobby Meacham who managed the Rockies' Spring Breakout club “I could tell how happy he was to be out there healthy and pitching in a game like this 📩 SUBSCRIBE TO THE BASEBALL TRAVELER NEWSLETTER • Hughes (Colorado's No. 16 prospect) rounded out the impression: Many in Rockies camp were taken by Hughes’ intellectually curious manner and impressed by the way he has been gradually rebuilding his off-speed pitches since undergoing Tommy John surgery in 2023 But after each of his innings -- the two-strikeout first inning and a second-inning that featured a double-play grounder from MLB Pipeline's No. 39-ranked prospect Colson Montgomery -- Hughes was quite animated as he left the mound “I’m never going to back down the intensity,” Hughes said and I was happy to be able to go out and showcase that intensity “It’s incredible being around guys that I’m going to be moving up with • Amador (Rockies' No. 7 prospect) shows his full game: Considering Adael Amador’s bat-to-ball skills and strike-zone control it's no surprise that he boasts a .472 on-base percentage and .805 OPS in 16 Cactus League games this spring While Amador is more a gap hitter than a power hitter he knocked 14 homers in Hartford last year and showed off his power with a two-run homer off Riley Gowens in the sixth inning Sunday But the lasting impression came when Amador ranged to his left to nab Montgomery’s grounder to start a double play in the second but he took much of the season to find a level of comfort Amador lost movement and flexibility and dealt with oblique issues The new Amador looks the part of a second baseman “I love that kid,” said Meacham, who managed Amador last season and made developing him as a second baseman a personal project “He worked his butt off and I could see that coming into Spring Training looks like he lost a little weight.’ Then the first time I saw him fielding ground balls ‘He’s been working on some of the stuff.’” Keith Meister over one of the darkest periods in Rockies history but I saw him pitch once earlier this spring and it was a ‘Who is that guy?’ kind of thing,” Meacham said “It’s so fun to see guys have success after going through that full year of work coming back from surgery.” Lefty reliever Welinton Herrera (No. 23) entered with two out and two on in the fifth and fanned White Sox No. 8 prospect Chase Meidroth “He’s kind of flown under the radar with people outside of the Rockies not us,” Rockies pitching strategist Flint Wallace said of Herrera who struck out 92 in 62 1/3 combined innings with Single-A Fresno and High-A Spokane last year Senior Reporter Thomas Harding has covered the Rockies since 2000 Please try the action again and if the problem continues, contact Customer Support Juliet JacquesReviews05 July 2024artreview.com London charts the evolution of Bertolt Brecht’s practice and reenlivens his plays and films as tools for raising political consciousness today Bertolt Brecht is one of a handful of twentieth-century writers who created such a distinctive body of work ‘Brechtian’ – invoked whenever artists remind audiences that they are watching something constructed – is now so widely used as to lose virtually all meaning the extraordinary cultural richness of the shortlived Weimar Republic to use theatre and film as tools for raising consciousness about how the cyclical crises of capitalism inevitably lead to war as Walter Benjamin noted in his essay ‘What Is Epic Theatre?’ (1931) rather than allowing an audience to immerse themselves in a linear storyline fragments follows his career through scrapbooks superseding Expressionist playwrights such as Georg Kaiser and Ernst Toller who were prominent after the First World War to his exile in the US and difficult return to what was by then East Germany – Brecht was one of the few Weimar artists to stay alive working and not disgraced by previous association with the Nazis after the Second World War The constructive methodology developed by writers often remains the preserve of researchers and aspiring authors Turning his methodology into an exhibition is a bold undertaking – the only comparable one I can remember is the ICA’s I presented scraps of text alongside live performances The fragments of his scrapbooks do not mention Expressionism Dada or Neue Sachlichkeit in any of their forms along with the notes and sketches he made in writing and staging his works The first room opens with newspaper cuttings that Brecht collected that span the global struggle against fascism and for socialism these range from a photo of Jews at the grave of a man called Adolf Hittler who died in Bucharest in 1892 to images of Bonnie and Clyde after their deaths to provide a sense of social tumult away from more obviously political clippings such as the pictures of Lenin and Stalin or the reports of starvation and war across Europe and in China On the walls are photographs that Brecht found in newspapers and magazines annotated with four-line poems – his ‘text-image critique of war under capitalism’ In a side room on the ground floor of Raven Row is a ten-minute extract from Slatan Dudov’s film Kuhle Wampe or: To Whom Does the World Belong people on a train have a political argument prompted by a passenger reading a headline about coffee supply in Brazil being destroyed to keep prices high Brecht’s intention of using his work to prompt debate among its viewers is unmissably clear: he does not offer an obvious conclusion but rather pushes his audience to ask questions about the mechanisms behind the economy rather than just accepting its fluctuations as being unpredictable and impossible to influence The other rooms are full of similar photographs with the most effective containing script excerpts from Brecht’s famous Nazi allegory the play The Resistible Rise of Arturo Ui (1941) ­– at points the intrigue or importance of the archival material has been lost in translation or to time so an English version of this text is very welcome the exhibition works best when seen with the  accompanying 90-minute performances designed and directed by curator Phoebe von Held and run twice per day These take place across Raven Row’s three floors packed into small spaces with consciously amateur cardboard sets and including actors who change costumes and zip across rooms to feature simultaneously in more than one play These bring a wild vivacity to the archival material: there’s a joyfully am-dram aesthetic to this 90-minute medley that takes its breaking of the fourth wall to extremes as players constantly enter and exit via an open window capturing the attention of people passing outside the gallery and happening upon an ephemeral form of street theatre In a scene from one of these abandoned works about a four-man tank crew who desert their station in the First World War one of the crew opens a door to the foyer where other actors are singing to say This is my best bit!” The fragments of The Bread Shop (1929–30) carry the most contemporary resonance being about precarity and homelessness amid the Great Depression These also have the most concrete characterisation moving beyond the archetypes (such as the ‘Cashier’ or the ‘Billionaire’ in Georg Kaiser’s plays) of Expressionist drama This allows some identification with its protagonist in a manner not typical in Brecht’s later work while the dialogue highlights class conflict and the role organised religion – in this case the Salvation Army – plays in diffusing class consciousness The Bread Shop is not as directed towards a mass audience as The Threepenny Opera Brecht and Kurt Weill’s 1928 anticapitalist musical reworking of John Gay’s The Beggar’s Opera (1728) nor as razor-sharp in presenting a political dilemma as Brecht’s 1939 play Mother Courage and Her Children,about a woman profiteering from the Thirty Years’ War speaking to us from its time of constant crisis to our own in a way that is typical of the entire exhibition None of this is a demand to revive Brecht’s style as he developed it specific as it was to his context in the 1920s: we can all create our own fragmentary archives of texts and images now using the internet for this purpose without even thinking too deeply about it in an all-encompassing media environment that makes it easy to feel like any statements we make from a throwaway comment to a structured work of art fragments is an invitation to reapply Brecht’s fundamental questions – how can we engage with our present political circumstances to shake audiences out of a sense of powerlessness educate them about who oppresses them and reinvest power into artistic practice at a time when the arts are no so much censored as underfunded and ignored brecht: fragments at Raven Row, London, through 18 August Claudia RossReviews Martin HerbertReviews Tom MortonReviews Gaby CepedaReviews Chris MurthaReviews ArtReviewNewsartreview.com02 May 2025 The painting, worth €50 million, has sustained visible scratches The 10 Exhibitions to See in May 2025ArtReviewPreviewsartreview.com02 May 2025 Our editors on the exhibitions they’re looking forward to this month, from the Venice Architecture Biennale to Gallery Weekends in Berlin and Beijing AdvertisementHow the Museum Became a WeaponWilliam ShokiOpinionartreview.com02 May 2025 In apartheid South Africa, museums glorified white settlement and erased Black history; in the US today, they are again being captured under the guise of neutrality Vyjayanthi Rao to curate 2026 Sharjah Architecture TriennialMia SternNewsartreview.com02 May 2025 She will be joined by Tau Tavengwa as associate curator Ari Emanuel buys Frieze from EndeavorArtReviewNewsartreview.com01 May 2025 The entertainment company’s own former chief executive has acquired Frieze for a reported $200m Inaugural Annie Leibowitz prize awarded to photographer of migrant experiencesArtReviewNewsartreview.com01 May 2025 Zélie Hallosserie to receive $10,000 for her documentary work in Calais Helmut Lang Has Always Been ProvocativeClaudia RossReviewsArtReview01 May 2025 Lang’s newest artwork, like his clothing, explores the uncanny ways that industrial refuse can interact with and even evoke human flesh IKOB Feminist Art Prize announces winnersArtReviewNewsartreview.com01 May 2025 Matt Copson: Never Grow UpMartin HerbertReviewsArtReview30 April 2025 “What’s living with no hope?” asks the artist’s big animated baby at KW, Berlin. One thing is certain: we can’t stop watching Disability Is Not a Separate Category of PersonhoodAlice HattrickOpinionartreview.com30 April 2025 The disabled experience is increasingly visible in the artworld yet an ableist political landscape is constantly on the attack. This affects us all We use cookies to understand how you use our site and to improve your experience. This includes personalizing content. By continuing to use our site, you accept our use of cookies, revised Privacy Belgian midfielder leaves CLTFC after making 33 appearances for the Crown and returns to first club 2024) – Charlotte FC today announced that midfielder Brecht Dejaegere has transferred to Belgian side KV Kortrijk on a permanent basis Dejaegere joined CLTFC in July 2023 and made 33 appearances for the Club in all competitions The midfielder scored 2 goals and added 2 assists “Brecht was a top pro and respected teammate who dedicated himself to the success of our organization over the past year and we’re thankful for his contributions to Charlotte FC,” said General Manager Zoran Krneta “He’ll be returning to Belgium and the Club that gave him his start in professional football and we wish him nothing but success back home.” Dejaegere moves back to KV Kortrijk where the Belgian midfielder featured 74 times from 2010 to 2013 He joined the KVK academy in 2007 and rose through the ranks before debuting for the first team in 2010 Transaction: Charlotte FC midfielder Brecht Dejaegere joins KV Kortrijk on a permanent basis Mara Brecht is an assistant professor in and the assistant chair of the Department of Theology at Loyola University Chicago and the vice president of the College Theology Society for the 2023-2025 term she was an assistant and associate professor of theology at St Norbert College and the Patrick and Barbara Keenan Visiting Chair in Religious Education at the University of St Michael’s College at the University of Toronto Brecht's research interests attend to the question "What does it mean to be formed as a Christian in a world of difference?" Her most recent work The Habits of Race and Faith in a Religiously Diverse World (Rowman and Littlefield connects this question to racialized embodiment and identity Brecht focuses on helping diverse students encounter theology especially the Catholic intellectual tradition and from it find something meaningful for meeting the challenges of their day-to-day lives She received the Monika Hellwig Award for Excellence in Teaching 2020 from the College Theology Society in May 2021 Brecht has published Virtue in Dialogue: Belief and Women’s Interreligious Encounter through Pickwick Press and co-edited Comparative Theology in the Millennial Classroom: Hybrid Identities She has published scholarly articles in Theological Studies Brecht has contributed to or led several Lilly-funded grants with the Wabash Center for Teaching and Learning in Theology and Religion Credit: Loyola University Chicago and Mara Brecht We use cookies to personalize content and ads and to analyze our traffic and improve our service fabricating work for designers and artists Glenn Adamson’s books were the only ones I found that directly addressed the embitterments of my trade: the relative prestige of conception above execution the balkanization of the crafts apart from fine art and the lack of critical discourse surrounding American studio craft Adamson has been a singular force in championing the thinking that happens in the hands He edited the only recent anthology of contemporary craft writing and edits the journal Material Intelligence which generates improbable dialogs between material scientists and craftspeople His alarmingly long scroll of bona fides made it all the more surprising when I found him congenial to engaging me in what has now been several years of vigorous debate Adamson’s most recent work, A Century of Tomorrows (Bloomsbury Publishing It traces an idiosyncratic history of futurology—a term he uses broadly drawing in the fearsome prophecies of tentpole evangelist Billy Sunday the actuarial idyll envisioned by poet and underwriter Wallace Stevens and the interstellar afro-futurism of Sun Ra’s Cosmic Arkestra One of the book’s chief pleasures is Adamson’s ear for the colorful anecdote Take this thundering declaration from Sunday: “Join me in a pledge that you will never rest until this old God-hating bootlegging old world is bound to the cross of Jesus Christ by the golden chains of love!!!” To Sunday the future was bifurcated between eternal flames and salvation Adamson places these eternities within a whole cavalcade of possibilities conceived by utopian communards we continued our long-running conversation by phone and email Brecht Wright Gander You’re known for being a champion—one of the very few champions—of contemporary craft What are you doing writing a book on futurology Glenn Adamson I was on the team for the Smithsonian FUTURES exhibition presented in the Arts and Industries Building on the National Mall I quickly realized there was a connection to craft grounded in inherited ways of making; futurology is speculative That perhaps gives each of them a reputation for unrealism They are ways of thinking outside the given I see that it can involve myth-projecting: seeking fidelity to a past that was itself mutable being that you seem drawn to the study of looking backward and forwards what is it that repels you so much about the present is to see it in relation to where we’ve been and where we are going history writing seems like an exercise in futility “History teaches,” what it teaches most is that we don’t learn from history—or I wonder if you feel some tension between historical research as an aesthetic enterprise and its apparent hopelessness—my assertion—as a prophylactic certainly gives plenty of evidence to back you up I think your point that the “wrong people” learn from history or maybe that many people learn the wrong lessons points to how important history really is right now weaponized versions of the past is to offer more thoughtful and compelling ones That’s what I tried to do in A Century of Tomorrows I was so aware of the toxic dystopianism that is being injected into our body politic BWGYou can depend on me for refreshing bleakness Which brings to mind your story about Ebenezer Howard’s Garden City: a utopian centrally planned project that unravels with a railroad running directly through the central garden The most futuristically oriented project I can think of right now is The Line which seems about as democratically promising as a throne made of skulls GA Also a project that is unlikely to get built—let’s hope thousands don’t have to die in the desert to prove it—in contrast to Howard’s ideas BWG You write that the key conceptual breakthrough of early meteorology was that “a lot of tomorrow’s weather is already here today.” I find myself constantly bewildered by this someone is carrying water from a river to use for cooking even as engineers are reviewing plans for terraforming regolith I imagine the multiplicity of overlapping temporal frames had to be a daunting aspect of corralling your book into a whole GA Anthropologists talk about heterogeneous temporality the idea being that communities are divided from one another not only by space but also by different experiences of time you will likely think of globalization as a homogenizing force which tends to bind everyone into a single temporal framework but maybe its very incompleteness is part of its power Just as imperialist Europe defined itself against “the other,” modern capitalism operates according to a normative sense of time: linear premised on calculable returns on investment The implication is that other conceptions of temporality are irrelevant: cyclical patterns in harmony with nature or an ecstatic embrace of the ever-unfolding now One fascinating thing about futurology is the way it breaks across those lines This is the central theme of A Century of Tomorrows It’s really the history of an ongoing conflict over the nature of time itself BWG A conflict that doesn’t always have clear sides You write that the “achievements and absurdities” of futurology “are not always easily distinguished from one another.” A sentiment I particularly enjoyed GA You find that combination in the first generation of industrial designers Their signature aesthetic of streamlining is definitely a little ridiculous But there’s no denying the tremendous impact they had Industrial design revolutionized the way that companies understood themselves as brands the relationship between commodities and consumers The cowl-like enclosures of streamlining were a first step toward the “black box” technology we now know so well There is always something intrinsically absurd about futurology It’s not possible to be certain about what lies ahead except within strictly controlled systems which are themselves prone to failure the value of a prophecy only ever becomes clear in retrospect But the act of predicting—and act is the right word that it has a tremendous purchase on culture and our collective imagination One of the pleasures of your book is that you engorge the term futurology with oracular prophecy If I can make a loose grouping of these futurological formulations between the technocratic and visionary modes I notice your sympathies seem to be with the latter GAI may have overcorrected a bit with Italian Futurism It has such an outsized place in histories of the future; I get impatient with the success of Marinetti’s branding and his dalliance with fascism makes him easy to dislike you are right that Futurism is a perfect instance of the visionary impulse that the more purely imaginative futurology is of the millennia-long lifespans of certain myths but that doesn’t mean history itself is a story: it is fundamentally shapeless and continually up for reassessment.” That suggests you assign a high degree of provisionality to your own accounts There’s a moment in A Century of Tomorrows It’s in a passage about Ridley Scott’s famous 1984 advertisement for Apple which is based on Orwell’s dystopian novel It ran during the Super Bowl—I was twelve—and remains one of my own early memories of the future imploding into the present I also wrote my book on an Apple laptop computer putting myself into the story just at that juncture but I think it also connects to the dynamic you are describing I always try to write from an implied subjective position by mistaking “the benefit of hindsight for moral clarity.” what someone fifty years from now might make of my book It’s a good question for anyone to ask themselves I’ve spent the last two years sleepless with the terror that AI is about to existentially upend humankind I understood books to be the most formative technology we have—books that germinate across centuries How in God’s name do we countenance technology that recursively self-improves at superhuman speed GA That is definitely how the AI partisans see things The term they like to use is the Singularity which designates the point at which machine intelligence matches and then surpasses human capability I think this is total nonsense because machine learning is so different from our own form of intelligence I really don’t believe people will ever be interested in AI-generated writing outside of a purely functional context for the simple reason that we are egotistical beings BWG Doesn’t just the opposite seem equally plausible: that people will be interested in what AI produces specifically because it comes from an alien form we will often have no way of knowing whether something is AI-generated or not GA Deepfakes may be a return to the historical norm: there weren’t a lot of verification processes for textual authorship prior to the nineteenth century I worry more about short-term economic disruption the latest in a long line of such technologically instigated incidents going back even further than the Industrial Revolution Modern craft is a coping mechanism for such ruptures in that it attempts to anticipate what might follow It’s a good example of why I remain sympathetic with the enterprise Not knowing what is to come: that is a profound aspect of the human condition Brecht Wright Gander is a sculptor and furniture maker based in New Jersey a traveling exhibition by the Design Museum Ghent Solo exhibitions include The Luminous Body at Objective Gallery in Shanghai The Florida Justice Association is making some changes to its government affairs roster is moving into a leadership position where he will help shape the organization’s political program Heuchan has been a fixture in Florida politics for nearly 30 years representing businesses and organizations before Florida’s Legislature Heuchan is also the founder of Contribution Link a political data analytics firm that helps politically active companies organizations and campaigns with their political fundraising Heuchan served as a Gubernatorial appointee of Gov Rick Scott to Florida’s Constitution Revision Commission Heuchan played a critical role as Chair of Style & Drafting the committee responsible for writing the ballot title and summaries as well as determining ballot order and any amendment groupings Florida voters overwhelmingly passed all seven proposed amendments to the CRC making it the most successful CRC in Florida’s history Heuchan also served on Scott’s Let’s Get to Work Committee and as a senior political adviser to the Governor during his second term He also served as the Director of Senate Campaigns for the Republican Party of Florida Heuchan also advised the House Speaker and the Majority Leader FJA also added Nic Ancheta to its government affairs team as a Government Affairs Policy Specialist Ancheta most recently worked as a legislative analyst for the Senate Majority Office and as a legislative aide to Sen He has also worked as a policy analyst for the Office of Policy and Budget and the Florida Office of Insurance Regulation Adding Heuchan and Ancheta represents some changes for FJA’s political and government affairs team Porter took over the role upon the retirement of the organization’s longtime Executive Director Huechan and Ancheta join FJA Director of Legislative and Government Affairs Laura Youmans communications veteran Allison North Jones Drew Wilson covers legislative campaigns and fundraising for Florida Politics He is a former editor at The Independent Florida Alligator and business correspondent at The Hollywood Reporter covered the state economy and Legislature for LobbyTools and The Florida Current prior to joining Florida Politics Begin here>>>>>>>>> Workjoin7.Com This platform and all of its content are owned by Extensive Enterprises Media Publisher: Peter Schorsch @PeterSchorschFL © Copyright by Extensive-Enterprises 2025. All rights reserved. STAFF LOGIN as pandemic restrictions were beginning to loosen up Jessica Hecht was looking to create a piece about and also somebody who is political in spirit but doesn’t find her voice until later in her life.” Walking around the Strand bookshop she stumbled upon a play she’d first encountered in high school where she never fully grasped its meaning: Bertolt Brecht’s The Mother one of his “learning plays,” follows an illiterate working class mother who finds herself at the center of a revolutionary struggle thanks to her son Having worked with refugee communities around the world with her Campfire Project program since 2017 it brought her back to the mothers she met at a Greek refugee camp who were desperate to help build a future for their children as part of Baryshnikov Arts’ 20th Anniversary season an adaptation of Brecht’s work co-conceived with It was an era she remembers well from frequent visits to her grandparents down South when she was discovering love and disco months before the police murder of a Black man ignited dayslong riots distancing effect by weaving several threads: the play’s narrative; Hecht’s personal history around the time the work was written; and scenes surrounding its original Berlin production Theatrely caught up with Hecht a few days before the work’s premiere My grandparents were working-class Jews from the Bronx and moved to Miami Beach like a lot of people did in the ‘60s and ‘70s I had very formative times with them going down to these apartments in the ‘70s which were largely [inhabited by] old Jewish people who had survived the Holocaust and now lived in these apartments up and down Ocean Avenue when I am both being completely turned on to the idea of being in the theater and spending these weeks in Miami Beach It all goes down in Miami in the era of disco and the city really exploding It was a fabulous time; clubbing and Versace and all these people coming down there to explore this whole other side of the city I really remember the collision of those two worlds Most of those people were in the last twenty years of their lives and a lot of them lived out the rest of their lives in isolation People stopped coming and it became very dangerous for a short period of time because Castro let out all of these people from jails and mental hospitals in addition to any Cubans who wanted to leave So these elderly people were panicked to leave their apartments at night because you realize all the bullshit that our government is putting out about these immigrant groups that is completely untrue It's interesting how these seeds get planted and create this idea in the collective consciousness that these immigrant groups coming in are the product of countries trying to get uncomfortable populations out That is absolutely not what's going on now but it was sort of what was going on in Miami at that moment to look back at the things that were happening around you when you were young We placed it in 1979-1980 because this very seminal event occurred in Miami at that time by a group of Miami-Dade police officers that became a real media explosion and then later sparked very serious riots in Liberty City and moments in which you feel the presence of thug-like police officers who come in and totally trash this old woman's home and there's actually a famous reggae song about the Liberty City riots because the whole city was burning It was like the Rodney King or the George Floyd events Arthur Lee McDuffie was a Marine and he was just pulled off his motorcycle and brutally beaten to death And McDuffie’s mother – now we've now seen mothers repeatedly pleading This was certainly not the first of this kind of murder but in many ways it was the first to be so well covered by the media Tell me a little bit about conceiving A Mother I went to the Strand looking for something I could perhaps collaborate on with Neena Beber We’d have these Zoom sessions where we would talk about how we could adapt this Our very first idea was to have three different mothers We’d do improvs around how this could manifest and I started telling stories about my own family and my grandmother's history who was a very defining character in my life where we would record ourselves talking about our own experiences and then we would read the play with six actors and then we'd go back to talking again We'd do these recordings to see how the play actually affected us Then Neena cobbled together a script based on these improvs and these investigations Had you thought of including movement into the piece before Baryshnikov became involved I did synchronized swimming and modern dance for a bit when I was a teenager It kept coming up during development and I said I don't want to manifest any kind of quote-unquote dance but we should have some way we move which allows us to engage with the audience in a physical way So I asked Misha Baryshnikov and his wife Lisa if they had any suggestions because I was in a production of The Cherry Orchard with him which had movement at that time Watching him work on a play was so inspiring because there's this way in which he creates a character through movement which is so defining Lisa wasn’t available but suggested their daughter because she works a lot in the theater and she's an incredible choreographer synchronized swimming on land and some teen theater camp choreographies that live in the piece It's so wonderful because we're finding all of this physicality by placing it in Miami Beach I have these women of that era that I knew so well So they had a kind of renewal of their femininity What's very interesting is that Brecht’s actual style was not as stiff as people think We have this remarkable recording of the Berliner Ensemble production of The Mother in 1934 that my friends showed me who’s the daughter of the person who created the Bread and Puppet Theater So the grandchildren of these bohemian icons married and that's how I got a lot of information about the Berliner Ensemble and these early productions The style is much more natural than you would ever imagine not that they are emotional in a contemporary sense or like you’d seen in an Arthur Miller or Tennessee Williams play but they are extremely accessible storytellers They're very simple in their production style There is a kind of emotion because they use the language to tell these stories so you hear the mother character often saying to her son “Please don't have your friends come here in the middle of the night I'm so worried that the police will come please listen to me.” If you just do it simply you're sort of recognizing that the plaintiveness is coming from this real understanding of this old world fear we're talking about language that's translated he wrote in a much more emotionally compelling way than we realize This interview has been edited and condensed for clarity A Mother is in performance through April 13, 2025 at Baryshnikov Arts Center on West 37th Street in New York City. For tickets and more information, visit here and interviews for publications in New York and Boston and will continue to do so until every last person is annoyed Thanks to his MA in Film and Media Studies from Columbia University he has suddenly found himself the expert on Queer Melodrama in Venezuelan Cinema and interviews of theatre across the globe from Broadway to London and everywhere in between Your one-stop shop for the latest information in arts and culture by the next generation Senior Reporter Thomas Harding has covered the Rockies since 2000 Barrie Kosky directs the piece for a short run in Brooklyn Dan Rubins Kurt Weill has been having a moment in New York revival of the composer’s long-neglected Love Life reminded us of his often-gorgeous score and the Berliner Ensemble’s four-performance residency at BAM performing The Threepenny Opera showcases his most celebrated work in a cheerily chaotic new take This Brooklyn stint marks the New York arrival of Australian director Barrie Kosky a top dog in European opera and musical theater For audiences dissatisfied with the hit-or-miss directorial interventions of auteurs like Jamie Lloyd or Ivo van Hove first staged in 1928 in German (as it is in this production is a distinctly weird piece of musical theater so the strangeness of the production seems like a match for the material librettist Bertolt Brecht and composer Weill faithfully preserved the story of prolific criminal Macheath (Gabriel Schneider) and his attempts to avoid arrest amid the seedy background of London’s thieves Brecht and Weill infused the tale with their fiercely anti-capitalist perspectives the metatheatrical and defamiliarizing tools of Brecht’s theater practices a stunning and dissonant score that melds jazz and Klezmer and the sounds of German street music The brittle socialist politics of Brecht’s storytelling don’t feel illuminated by Kosky’s playful approach what’s highlighted is the classification-defying structure that makes The Threepenny Opera such a singular piece The songs disrupt the action more often than they erupt out of the scene’s emotion so it can sometimes feel as if characters are stepping outside of the dialogue to comment musically on their own behaviors Threepenny’s characters function less as individual figures following their own arcs than as a united many-headed mouthpiece of a single perspective declaiming that “Man stays alive thanks to how completely he can repress his own humanity.” These musical injections hit harder here when they’re personal—like the electric “Tango-Ballad” in which Macheath and his streetwalking lover Jenny (Bettina Hoppe) recount their cozily checkered past together—than when they’re political like the various odes to mankind’s basest instincts Kosky’s staging follows simultaneous maximalist and minimalist impulses The cast spends much of the first act clambering over a geometric jungle gym of boxed-in stairs and platforms inscribed in a series of hulking pillars All that climbing never gets repetitive: Kosky finds infinite variety in Rebecca Ringst’s set as the vertical landscape multiplies the number of stage pictures that the cast can form Polly (Maeve Metelka) sings “Pirate Jenny” framed inside a box Ulrich Eh’s pinpointed lighting casts bodies in the background into striking silhouette accenting the featured performers in each new tableau This is also a sort of über-version of Threepenny the production incorporating Brecht’s later additions to the text and some patches of contemporary comic improvisations (occasionally unsubtitled the early ebullience replaced by something less gripping But there’s a small-scale intimacy to much of this production especially in the quiet intensity of Hoppe’s mournful Jenny who counters Schneider’s Macheath’s writhing exuberance and most of the costumes gently modern but unobtrusive The cast is small (Macheath doubles as a beggar in the opening dialogue) eschewing the show’s usual large ensemble: as a result the show seems to take place in the theater itself the actual audience more present to the characters than the imagined alleyways and brothel If I couldn’t tell you precisely what Kosky’s staging vision means in the assured idiosyncrasies that mirror those in the writing It’s a staging that does justice to Weill’s music by capturing its strange sharp edges and celebratory dissonant flashes visually with Weill’s eclectic orchestrations and extensive doubling (two winds players cover seven instruments between them) a sort of waifish lament that concludes Hoppe’s haunting rendition of “Solomon Song,” is a new invention here it fits: a small respite from Brecht’s fervent alienation of the audience to allow Weill’s strange The musical opens at the Imperial Theatre on April 10 Get the best deals and latest updates on theater and shows by signing up for TheaterMania's newsletter today Senior Reporter Thomas Harding has covered the Rockies since 2000 Senior Reporter Thomas Harding has covered the Rockies since 2000 Senior Reporter Thomas Harding has covered the Rockies since 2000 Strong pitching from the Grizzlies was overshadowed by the Stockton Ports (1-2) combined no-hitter as Fresno (2-1) dropped the series finale 2-0 at Chukchansi Park Sunday afternoon in Downtown Fresno Brody Brecht’s professional debut went according to plan on the mound as the right hander struck out 7 batters in three innings of work working around a pair of walks without allowing a hit or a run But Brecht was matched on the mound by Jefferson Jean the Ports starter who held the Grizzlies to just one baserunner over five innings of work Jean struck out five and left Kelvin Hidalgo stranded on third in the second but couldn’t score as Jean struck out the final two hitters of the inning That kicked off a string of 11 consecutive batters retired by Jefferson Jean before Stockton went to the bullpen Stockton scored just in time to reward Jean as Myles Naylor led off the sixth with a single and scrambled to third when C.J Pittaro’s fly ball landed in the left field corner for a double Tommy Takayoshi singled with the infield drawn in to produce the game’s only RBI to put Jean in line for the win registering two K’s in each of the innings he worked Stockton scored an unearned run in the 7th when a dropped flyball with two-outs off the bat of Naylor plated Jared Sprague-Lott The run proved unnecessary as Sha worked the 6th and 8th innings and Wilfred Alvarado worked a clean ninth inning for the save The combined no-hitter is the first in professional baseball this season It also overshadowed a good debut for Brecht as well as a number of solid season debuts from the Fresno Grizzlies bullpen Everett Catlett worked 1.2 without allowing a run Justin Loer was saddled with a tough loss despite striking out all four batters for the 1.1 innings he pitched allowing one unearned run and Austin Becker worked two scoreless innings opening up a six games series at Inland Empire Tuesday night at 6:35 pm with Bryan Mena taking the ball for the Grizzlies Inland Empire is slated to throw Peyton Olejnik in opposition The broadcasts for the entire series will solely be produced by the 66ers and can be accessed through MLB.TV or the MiLB streaming app April 15th to begin a series with the Lake Elsinore Storm The Fresno Grizzlies are a proud affiliate of the Colorado Rockies organization the Grizzlies held several California League season records including most attended game and highest overall attendance a year-round venue that hosts numerous special events Senior Reporter Thomas Harding has covered the Rockies since 2000 Senior Reporter Thomas Harding has covered the Rockies since 2000 If you had an account with Verso prior to April 2023 you will need to register here to access your account Would you like to switch to our site to see prices and shipping options for your current location Olivier Neveux revisits Fredric Jameson's Brecht and Method for our Jameson at 90 series It took quite a sense of historical untimeliness to publish a book devoted to Brecht on the occasion of the centenary of his birth the playwright was treated like a dead dog caught up in the obliteration of anything remotely signifying Marx despised or academised and – worst of all in the artistic world – outmoded what is striking in reading Jameson’s powerful book more than twenty years after its publication is its relative indifference to current events; Brecht is not a banner here a denigrating response to the failure of actually existing socialism or the name of a boastful claim in the face of neoliberal victory continuing with Brecht without making him a totem (remember the playwright's warning: ‘don’t connect with the good old The choice and status of Brecht raise questions; he was not a philosopher his thinking on art is precisely captured in his art and the commentaries that accompany it are dialectical – and manifest – moments that spur new work Jameson does not treat him as a philosopher any more than he really treats him as an artist of the theatre We need to say a few words about the method adopted: this constantly combines a view from above macro-historical or totalising Brecht’s work The text runs its course; Jameson moves quickly gliding or leaping in a tightly organised fashion from one proposition to another and projecting it into major questions about literature and politics which he subjects to his interpretation of Brechtian ruses and efficacy he links his propositions both to Brecht’s own texts and to readings that do not have Brecht as their subject in contrast to so many studies of the playwright such as ‘alienation’ or ‘epic theatre’; nor it takes Brecht at his word on the consequences of his art Consequences that are at work in Brecht: practical consequences but also consequences for what a work is and for the place it occupies in a historical moment and a social process Being unconcerned with the art of theatre – except in a few remarks such as those on the question of identification – and uninterested in the ambiguity inherent in dramatic embodiment; in short freed from the (albeit decisive) question of the stage Jameson paradoxically rediscovers what had been covered up by customary usage who was an introducer and activist of Brecht’s work denounced as the petrification of ‘process into procedures’ The dialectician Jameson reads the dialectician Brecht by the yardstick of the ‘Grand Method’ its place in the social totality – and its relationship to modernism while it is possible that philosophers and Jamesonians will find things of interest for them here amateur ‘Brechtologists’ and ‘Brechtians’ will certainly discover through the scattering of often surprising and counter-intuitive propositions (effect V) how to make Brecht’s work function differently and will draw from it still more widely avenues for thinking It is also important to mention the singular place occupied by the novum the admirable pages on proverbiality and the insistence on the negative One last thing: Jameson doesn’t bother with those academic obligations that have become neutralising no formal discussion of this or that interpretation This freedom is not the least bequest that his book offers It reveals everything that is involved in opting for a creative reading – like a constantly repeated phrase that seeks in the object it faces the consistent and determining negativity of its freedom See all works by Fredric Jameson here. His new book, Inventions of a Present: The Novel in its Crisis of Globalization is out on May 7 The new play is set against the backdrop of the 1980 Miami race riots David Gordon Jessica Hecht will star off-Broadway in the new play A Mother an adaptation of the seldom-produced drama by Bertolt Brecht Written by Neena Beber and conceived by Beber and Hecht the play will run March 29-April 13 at Baryshnikov Arts Center Shura Baryshnikov is the choreographer and Mustapha Khan is musical director Described as part documentary and autobiography and Jewish music to tell the story of protagonist Jess’s first love against the backdrops of the 1980 Arthur Lee McDuffie race riots in Miami The original Brecht drama was adapted from the 1906 novel by Maxim Gorky The show is produced in partnership with Lana Russell and Susan Kaplan Channelsreels-350811Reelsarrow-expand-350812Brody Brecht fans two across a scoreless frameRockies Prospects @ White Sox ProspectsMarch 16 2025 | 00:00:21add-reel-350813Reelsshare-square-2-350814ShareRockies prospect Brody Brecht fans two across a scoreless frame in the Spring Breakout game against the White Sox You can now search for over 3 million videos by player Use the search box to start your search with a player or a team and then use the filter panel to refine your results You can also start by selecting filters from the panel Videos can be embedded and shared directly from MLB.com Bienvenido a la nueva búsqueda de videos de MLB Ahora puede buscar más de 3 millones de videos por jugador Use el cuadro de búsqueda para comenzar su búsqueda con un jugador o un equipo y luego use el panel de filtro para refinar sus resultados También puede comenzar seleccionando filtros desde el panel Los videos se pueden insertar y compartir directamente desde MLB.com/es There was an error when executing your search Please refresh the page or try another query to get results If you are still having trouble, please describe your issue here and we will do our best to resolve it Por favor vuelva a cargar la página o intente con otros parámetros para obtener resultados Si aún así continua teneindo problemas, por favor descríbalo aquí y haremos todo lo posible por resolverlo It looks like there are no results for your search Please note that \\\"Play\\\" filters are only available after the 2015 season Videos from 2015 and prior can be searched by player Examples of \\\"Play\\\" filters:Hit ResultPitch ResultPitch Type\"},\"es\":{\"title\":\"¡Ponchado!\",\"body\":\"Aparentemente no hay resultados para tu búsqueda tenga en cuenta que los filtros de Play sólo están disponibles después de la temporada 2015 Los videos de 2015 y anteriores se pueden buscar por jugador There were no clips found for this selection Please refresh the page or try again later No se encontraron clips para esta selección Actualiza la página o vuelve a intentarlo más tarde the International Brecht Society hosted its 17th conference – ‘Bertolt Brecht in Dark Times: Racism Political Oppression and Dictatorship’ – at Tel Aviv University in collaboration with Haifa University and the Hebrew University of Jerusalem Having spent a lifetime crafting scenes rife with contradiction Brecht would have been struck by the irony A dozen Palestinian performing arts organizations issued a statement urging the society to reconsider Hosting such an event at institutions entangled in the occupation was ‘an affront to Brecht’s memory’ and would undermine Palestine’s struggle ‘towards freedom When some attendees travelled to Ramallah to try to meet with Palestinian artists and intellectuals amidst its ongoing scorched-earth campaign the Israeli military destroyed Gaza’s last theatre Images from Gaza flashed across my mind as I visited brecht: fragments the largest collection of visual material from Brecht’s archive ever to be displayed Spread across four floors of London’s Raven Row are journals manuscripts and other ephemera assembled by Brecht over the course of three decades Enlivening this ‘laboratory of miscellany’ – as Benjamin once described his friend’s workroom – is an ensemble performance that roams the galleries adapted from four little-known theatrical fragments written during the twilight years of the Weimar Republic but what’s there has been judiciously selected The title underscores the intent of the curators – to highlight the collages and all things fragmentary in Brecht’s oeuvre Its mix of archive and repertoire offers an insight into the working methods of an artist who did so much to define the parameters of communist art Framed and hung in the opening room are several manuscript pages from Brecht’s best-known visual work, War Primer (1955) Each page features a photograph from World War II Accompanying a portrait of Joseph Goebbels Brecht takes a potshot at the Third Reich’s chief propagandist but the juxtaposition aims higher – skewering the truth pretensions of visual media The family resemblance to the work of his Weimar comrades like George Grosz and John Heartfield is unmistakable used collage and montage not just as artistic techniques; piecing together fragments was his method for researching reckoning with the shattered world around him Most of the material included in brecht: fragments was not originally intended for public display Enclosed in several glass cases a few feet away from War Primer are pages from albums Brecht compiled largely while exiled in America between 1941 and 1947 these consist of large-format card sheets on which he pasted newspaper and magazine photographs in suggestive combinations Among them are images of cities razed by airstrikes Many betray an interest in how social forms recur across different political contexts: an image of a Nazi frisking a Yugoslavian partisan is juxtaposed with one of Italian resistance fighters capturing a fascist; a frenzied crowd storming an American bank appears alongside a packed fascist rally; Bonnie and Clyde are paired with Hitler and Goebbels Sprinkled throughout are scenes of collective struggle from Calabrian peasants seizing farmlands to miners and women on strike Hitler is seen furiously raising his fists just above a German schoolboy doing the same The comparison infantilizes the Führer in the manner of a Heartfield collage the assemblage was likely research into the gestural vocabulary of fascism that fed into his scripts and performances This stemmed from his broader concern with the theatricalization of politics – also evident in the clippings of Mussolini Annotated scripts and plot outlines displayed throughout Raven Row show that Brecht was as keen to cut up his own manuscripts as he was newspapers and magazines Just as his epic dramaturgy maintained that each scene of a play should stand on its own a similar principle governed his composition of such works entire acts – nothing was safe from Brecht’s scissors slicing out fragments and pasting them in new places or even into other manuscripts This practice allowed Brecht to view his ideas and to adjust previous writing to changed circumstances I revisited my copy of War Primer and was surprised to find the same photograph from Brecht’s journal In this path from collecting to publishing That the exhibition sparks flashes of recognition would not have displeased Brecht he conceived of history as an unruly conjunction of past and present For the livestream from Gaza to constellate with the records of barbarism Brecht amassed is entirely in keeping with the point of his collection As Sarah James writes in her contribution to the exhibition catalogue Brecht left behind his vast archive of fragments not for the purposes of ‘memorialisation but as collective resources for future collaborators’ The exhibition attests to this in remarkable ways particularly through the roving 90-minute performance that fills every floor of Raven Row The director Phoebe von Held has adapted four of Brecht’s unfinished dramatic works staging them throughout the gallery to demonstrate how the repercussions of capitalist crises cascade onto the most vulnerable a madcap scene from Fleischhacker (1924–1931) unfolds about an unscrupulous speculator whose attempt to corner the wheat market triggers a global famine We are then rushed down the stairs by a torrent of lines from The Flood (1926–1927) inspired by a 1926 hurricane that wiped out Miami we meet those left to pick up the pieces: a family forced to abandon their farm due to Fleischhacker’s machinations the shell-shocked tank crew of Fatzer (1926–1930) a single mother of five from The Breadshop (1929–1930) whose debts lead to her eviction and eventual death from despair quirky vignettes show Brecht at his most radical He and his collaborators wrote them amidst the Wall Street Crash and Hitler’s rise resonances with present realities hit home: engineered famine Von Held holds this sprawling world together with glue and tape one of London’s most inventive costume designers has dressed the ensemble in maximalist attire collaged from rubbish Nearly all props and set pieces are fashioned out of cardboard including the large backroom where The Breadshop unfurls which is covered in tiles made of shipping boxes their address labels and Amazon logos still visible Every directorial choice appears to have been made with fragmentation in mind; even the audience is split in half at the start and sent through the performance in opposite directions flipping through characters like a stream of TikTok videos One moment they’re with the Salvation Army the next they’re playing in a bluegrass band as well as less conventional dramatis personae like bull markets and cities on the brink of destruction An entry from October 1943 shows a photograph of a building in Aldgate – a stone’s throw from Raven Row – its façade blown apart by a German bomb a vaudeville act is being performed to a small audience It called to mind the destroyed theatres of Gaza and the West Bank was levelled on 9 August 2018 by an Israeli airstrike Gazans set up white plastic chairs before the rubble and performers climbed atop the jagged concrete and steel to stage a mournful remembrance One young actress avowed: ‘We will rebuild it Read on: Roberto Schwarz, ‘Brecht’s Relevance: Highs and Lows’ The element requested is either not valid or does not exist Gregory Magnus Brecht Fairfax Gregory Magnus Brecht died Monday The Gazette publishes obituaries on a daily basis. Use the search field above to search for obituaries by name or keyword. Readers can submit an obituary or submit a milestone to The Gazette The obituary must be submitted before 1 p.m for publication on thegazette.com at 6 p.m with the exception of obituaries for Sunday publication The Gazette offers audio versions of articles using Instaread Private services will be held at Teahen Funeral Home the son of Charles and Mae (Corbin) Brecht Gorsh at Trinity United Church of Christ in Sumner Township on October 8 Dorothy (Larry) Wade and Lisa Gorsh; and four nieces and five nephews Corbin Brecht; sister-in-law and brother-in-law Online condolences can be left at www.teahenfuneralhome.com The Gazette has been informing Iowans with in-depth local news coverage and insightful analysis for over 140 years independent journalism with a subscription today © 2025 The Gazette | All Rights Reserved Senior Reporter Thomas Harding has covered the Rockies since 2000 Senior Reporter Thomas Harding has covered the Rockies since 2000 Senior Reporter Thomas Harding has covered the Rockies since 2000 Senior Reporter Thomas Harding has covered the Rockies since 2000 Senior Reporter Thomas Harding has covered the Rockies since 2000 Senior Reporter Thomas Harding has covered the Rockies since 2000 Senior Reporter Thomas Harding has covered the Rockies since 2000 Senior Reporter Thomas Harding has covered the Rockies since 2000 Senior Reporter Thomas Harding has covered the Rockies since 2000, and for MLB.com since 2002. Iowa – University of Iowa junior Brody Brecht was selected by the Colorado Rockies on Sunday in the Competitive Balance-A round of the 2024 Major League Baseball Draft Brecht is the 30th player drafted under head coach Rick Heller He is the highest draft pick under Heller at Iowa native went 4-3 with a 3.33 ERA in 15 starts in 2024 The right-hander posted five quality starts and fanned 128 batters over 78.1 innings Brecht ranked fourth in the nation in strikeouts per nine innings (14.71) and seventh in total strikeouts a former dual-sport athlete with the Iowa football team is Iowa’s single season and career strikeout leader He totaled 281 strikeouts in 178 career innings and had a 10-9 record with a 3.49 ERA while making 32 starts The Hawkeyes finished the 2024 season with a 31-23 overall record Iowa finished fourth in the Big Ten regular season standings and made its ninth straight Big Ten Tournament appearance Colorado Rockies news and notes for Friday When the Colorado Rockies drafted University of Iowa pitcher Brody Brecht as the 38th pick in the MLB Draft this is the kind of content we at Purple Row are very here for Mac Wilcox wrote a quick analysis on Sunday and I wanted to follow up on some of the ideas laid out in his article The 21-year-old (he’ll be 22 in September) is 6’4” where he attended Ankeny High School and was a multi-sport athlete (football He finished high school as Iowa’s Gatorade Player of the Year in baseball (He finished his season with a 0.57 ERA with 126 strikeouts.) Even though he could have gone pro in the 2021 MLB draft he committed to the Hawkeyes to play both football (wide receiver) and baseball He redshirted in football as a freshman and saw little playing time as a sophomore (nine passes in 11 games) and moved into the rotation as a sophomore he led all D-I pitchers with a .143 batting average against “Football is and probably will be my number-one love It’s always what I wanted to do when I was a kid or to chase something that I think I can be great at was definitely a tough decision for me that I had to make.” making 16 of his 17 appearances as a starter he recorded a 3.74 ERA with 109 strikeouts and 61 walks That’s also the year he threw his fastest pitch to date: 104 MPH @B1Gbaseball fans, @UIBaseball's @brody_brecht can throw some . pic.twitter.com/53S0gvMsFv That translates to a .165 batting average against and a 14.7 K/9 Brody Brecht did not allow an earned run through 7.2 IP yesterday. He showcased two different breaking balls, both with a Stuff+ over 200, including a sweeper that averaged 88 MPH with -14 HB. Brecht's 31 induced whiffs were the most by any pitcher recorded on Trackman this year pic.twitter.com/iqrBgKgszx “I started working with a mental performance coach named Brian Cain and he really changed the whole way I go about executing a pitch and committing to a pitch at a time His big things are intention and execution The only thing you can do as a pitcher is control executing one pitch at a time That’s the only thing you should be worrying about.” First, there’s some debate in baseball about drafting players who devote themselves solely to baseball while bypassing other sports. (One interesting note from RockiesFest was that of prospects in attendance, only Jaden Hill had played another sport.) Some believe that playing in multiple sports allows players to develop a different skillset [Brecht is] a guy that had some football in his background throwing a whole bunch of pitches and maybe going to that extreme fatigue level at a younger age We can’t wait to roll up our sleeves and get to work see his time spent playing other sports as reducing hours on his pitching arm and they’re eager to work on the mechanical issues about Brecht’s development with the Hawkeye staff both in terms of his mechanics and his pitch usage That decision didn’t help him develop fastball command Because he pitches from a higher release point and three-quarter arm slot, Brecht induces ground balls. (Sound familiar?) As Blake Street Banter’s Tyler Paddor puts it “Brecht may be the first pitcher the organization has had to combine such groundball inducing qualities with elite velocity.” is “dirty” with “some teeth to it.” When Brecht is timed up is whether the Rockies can continue Brecht’s development Vice President and Assistant General Manager of Scouting Danny Montgomery thinks they can We always talk about him breaking down his mechanics and the things of pitching [and] when he may be out of sync And he really spoke extremely well about it Montgomery also likes Brecht’s physicality does all the little things that you want to see as a pitcher in our league with a guy that’s big and physical like that He should be a tight end in the NFL right now But everything’s going to translate to our league he’s just a young on-the-mound guy that throws extremely hard with a very We’ve got to harness a little bit of command and control For another opinion, here’s Mario Delgado Genzor Purple Row’s own in-house pitching evaluator: Brecht has a borderline 80 grade slider and has been up to as high as 104 in the past The fastball plays down and his command/control are well below average at the moment but it’s still frontline starter stuff and a jolt of arm talent and upside to a system that really needed it You may access his opendorse page here if you’d like to arrange There’s no doubt about it: Brody Brecht is one of the most exciting picks the Rockies made in the draft The question now is whether the Rockies can help him take that next step The next time you’re riding the train at DIA be sure to listen for Gold Glove finalist Ezequiel Tovar Colorado @Rockies shortstop Ezequiel Tovar really dove into recording our newest train call. ⚾ Give it a listen on your next ride to the Terminal! #GoRockies pic.twitter.com/mWq8fXMpLH and they picked a pretty awesome way to do it A post shared by Colorado Rockies (@rockies) “I really think it’s just the beginning”: Brody Brecht and Trey Yesavage on climbing into the first round | FanGraphs This piece is vintage Michael Baumann: Smart analysis with the sharpest metaphors of any writer in baseball Brecht discusses at length the mental adjustments he’s made Doyle Rules! | Purple Row Just a reminder that we’ve got some Brenton Doyle swag via Breaking T. Order from this link Please keep in mind our Purple Row Community Guidelines when you’re commenting Senior Reporter Thomas Harding has covered the Rockies since 2000