The set created by Paul Steinberg is spare but malleable. He uses a painted backdrop, a green carpet and a collection of orange oil cans that are rolled around to create a variety of settings, from the widow’s bar to the inside of a pagoda—and to make one inanimate character.
This was my first encounter with A Man’s a Man so I can't say for sure that this approach is exactly what Brecht intended it to be (a few characters have been cut and maybe some scenes too) but I enjoyed it. So much so that even though I usually shrink from any kind of audience participation, I was drawn in this time. When one of the soldiers came over and, with the full audience looking on, locked eyes with me, I leaned in and gazed right back.