“His curiosity and intellectual capacity (are) astonishing, and he influenced me in many ways. . . . He is one of those rare people: he’s brave with his life, and he’s brave with his art.” —Mikhail Baryshnikov

German dramatist Bertolt Brecht viewed most wars as a political panacea for economic downturns and a purposeful division of people by color, religion, language, and geography—a remarkably timely perspective in an era defined by the “war on terror,” fears about immigration, and ethnic conflict worldwide. . . .

“His curiosity and intellectual capacity (are) astonishing, and he influenced me in many ways. . . . He is one of those rare people: he’s brave with his life, and he’s brave with his art.” —Mikhail Baryshnikov

German dramatist Bertolt Brecht viewed most wars as a political panacea for economic downturns and a purposeful division of people by color, religion, language, and geography—a remarkably timely perspective in an era defined by the “war on terror,” fears about immigration, and ethnic conflict worldwide. For this reimagining of Brecht and composer Hanns Eisler’s rarely performed music-theater work Roundheads and Pointheads, pioneering choreographer/ theater director /writer David Gordon animates and adulterates Brecht’s pre-Holocaust parable with an English translation by Michael Feingold (Village Voice) and a diverse nine-member cast that includes acclaimed performance artist John Kelly, actress/dancer Valda Setterfield, and pianist /composer Gina Leishman (Kamakazie Ground Crew).

Commissioned by the Walker Art Center with support provided by the William and Nadine McGuire Commissioning Fund and the National Endowment for the Arts. Additional support provided by Sage and John Cowles.

The Walker Art Center’s Dance Season is sponsored by