An Inventive
Production of The Threepenny Opera
Richard Connema
talkinbroadway.com
Kurt Weill and Bertolt Brecht's The Threepenny Opera
goes punk in Shotgun Players' production running through
January 31 at their theatre in Berkeley. This marks the
tenth time I have seen the classic Marxist critique of the
capitalist world. I have seen several productions in New
York including the Theatre de Lys production in 1954 with
the legendary Lotte Lenya playing Jenny and Beatrice Arthur
as Lucy Brown. I also saw a German production in the 1950s
at a Berlin theatre.
The Threepenny Opera premiered in 1928 at the
Berlin Theatre am Schiffbauerdamm but was banned later when
the Nazis came to power. The musical has been translated
into 18 languages and has been performed more then 10,000
times in France alone. The masterpiece has been described
as an example of the modern musical comedy genre.
Director Susannah Martin has put a different spin on this
production. It still takes place in London during the Queen's
Jubilee, but Macheath's friends are all punk. The almost
three-hour musical has a punk aesthetic style that one must
get used to. The characters contrast and contradict themselves
throughout the production. Musical director David Moschler
has remained true to the Kurt Weill melodies and that saves
this inventive production.
Erika Chong Shuch's choreography is robust and highly energetic.
It is almost frantic in its concept as the characters stomp
and jump during the dance movements. Sometimes there is
direct confrontation with the audience. The opening number
of "Mack the Knife" is done almost as vaudeville
shtick with Christopher W. White and Daniel Duque-Estrada
doing an old time routine a la Abbot and Costello.
Jeff Wood as Macheath is hampered a bit by soggy diction
in the first act, but he pulls himself together for the
second and third acts as a modern day Macheath. He has a
powerful voice in the second act finale singing "Dreigroschenfinale"
with the support of a great chorus. He offers an impassioned
rendition of "Call From the Grave." Andy Alabran,
Daniel Duque-Estrada, Josh Pollock and Christopher W. White
each retain a spark of individuality while serving as the
well-oiled unit of Macheath's gang.
Kelsey Venter is lovely as Polly Peachum. She is wonderful
handling the complicated "Pirate Jenny" and "Barbarasong."
She starts out as a naïve young girl and evolves into
a hard-knock street person in the second and third acts.
Casi Maggio, who took over the role from Rebecca Pingree
at the performance I attended, is captivating as Lucy Brown.
Her duet with Kelsey in "Jealousy Duet" is mesmerizing.
Dave Garrett, who puts a Texas twist on Mr. Peachum, has
a thunderous voice, especially when singing with Bekka Fink
who splendidly portrays Mrs. Peachum. She has a pleasing
voice when singing the "Ballad of Sexual Dependency."
Bravo to set designer Nina Ball who has given a punk look
to the stage with scraps of newspapers surrounding the walls
of the stage. The seven-member orchestra under the direction
of David Moschler faces the audience and they are top professionals
that anyone on Broadway or off would be proud to have.
The Threepenny Opera plays through January 31
at the Shotgun Theatre, 1901 Ashby Street, Berkeley. For
tickets call 510-841-6500 or go to www.shotgunplayers.org
for more information. Their next production will be the
West Coast premiere of A Seagull in the Hamptons
opening on March 24th and running through April 25.
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