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The Threepenny Opera
Book and Lyrics by Bertolt Brecht
Music by Kurt Weill
English adaptation by Marc Blitzstein
Directed by Sean Graney
Produced by the-hypocrites
At Steppenwolf Garage Theatre
1624 N. Halsted
Chicago, IL
Call 312-335-1650 www.thehypocrites.com
Tickets $20 -$25
Thursdays thru Saturdays at 8 pm
Sundays at 3 pm
Running time is 2 hours, 30 minutes with 2 intermissions
Through October 12, 2008
Campy and manic version of Threepenny Opera uniquely engaging
“The Threepenny Opera” is produced as part of the Steppenwolf Visiting Company Initiative and it is the-hypoctites’ first visit to Steppenwolf since 2005. Director Sean Graney’s first musical, “The Threepenny Opera” contains his singular theatrical style that includes a large sprawling stage, loads of energetic movement with wild costumes and hints of camp, satire and parody. This production has an enticing aura despite some gaping flaws. Graney’s take on Bertolt Brecht and Kurt Weill’s 1928 working class opera, based on John Gay’s “The Beggar’s Opera, tires to convey Brecht’s biting satire and funny parody with mixed results. The sheer energy and manic movement of this piece aptly mocks the pomp of Victorian London’s aristocratic society.
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The operetta’s socialist view champions the common man as it paints a negative view of capitalism. For those unfamiliar with Brecht/Weill, this opera gives hints as to the plight of the lower class. This show is a mixture of love story, cabaret show, political discourse and social commentary. Weill’s unique melodies have influenced modern musical such as “Sweeney Todd,” “Cabaret” and “Urinetown.” Graney’s near camp style is valid and engaging.
From the cabaret styled “Ballad of Mack the Knife,” sung nicely by Alex Balestieri, “The Threepenny Opera” explodes upon us breaking the fourth wall with its depiction of the plight of the poor. We meet Peachmun (Kurt Ehrmann) as he organizes and recruits a host of beggars with the aid of his wife (Sara Sevigny). When daughter Polly (Jennifer Coombs) falls for the highwayman, Macheath (Gregory Hardigan), the Peachmun’s plot Mack the Knife’s demise. The story depicts police corruption and the hypocrisy of capitalist society in song and movement. The spread out staging in Steppenwolf’s Garage made some sight lines blurred with much of the dialogue escaping much of the audience.
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Timothy Splain’s piano work was amazingly creative doing justice to Weill’s unique score. Despite many singers being amplified, I had a hard time understanding the lyrics. Proper enunciation would help here. The propensity for the cast to scream and shout, even while singing, grew tiresome. Kurt Ehrmann, Sara Sevigny, Jennifer Coombs and Gregory Hardigan intensely sang the complicated score despite their limited vocal chops. Hardigan’s Mack the Knife, while intense, lacks the charm and sensuality to get the girls to swoon yet he delivers the parody of the happy ending nicely. He is a special type of hero. His wives, Polly and Lucy (Jennifer Coombs and Kat Evans) had their moments.
“Threepenny” is more about spectacle and camp than stirring operatic singing. Don’t expect classical opera voices here with the non-Equity cast. Graney goes more for the satire and parody to covey Brecht’s socialist views than extreme quality singing. I was impressed with the work as a whole rather than the individual songs or performances. It is, indeed, the working class folk’s opera that surely isn’t for the snobs who enjoy attending Chicago’s Lyric Opera. I think that was Brecht/Weill and Graney’s intention. If you have never seen “The Threepenny Opera,” this production will give you hints of the power of this important piece.
Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: September 2, 2008
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