2008 Woodie Awards
Threepenny unique, intriguing show
Opera mixes humor, Marx with great panache
Gardner Beson
Issue date: 2/13/08 Section: The Mix
Kurt Weil's "Threepenny Opera" is not among the commonly performed in a standard opera repertoire, nor one that the layman would be familiar with.
But it should be.
Taken from an older work, "Beggar's Opera" by John Gay, "Beggar's Opera" is a work that captures Gay's Marxist spirit and the corruption of the judicial system of that time in England.
Originally performed entirely in German in 1928 as "die Dreigroschenoper," it is one of a kind. The opera features a sly character by the name of "Macheath" (or "Mack the Knife," as his lovers and enemies refer to him), who leads a band of plunderers and thieves in Soho London. Easily the most famous song from the opera, "Mack the Knife," has been performed by numerous artists including Bobby Darin and even Marilyn Manson.
Here's the short version of the plot: Mack, the successful and elusive thief-assassin, marries Polly Peachum. Polly betrays him to the police, who were allied with him in the beginning of the opera. Next, Mack escapes, sleeps with his favorite whore (yes, there are whores in the opera) and is caught again. Right as Mack is about to be hanged for his numerous crimes, the queen's messenger shows up and pardons him.
And, of course, all of this is done with a comedic attitude in mind, for the sake of laughter and gaiety.
I saw the Saturday night performance and was immediately impressed by the amount of people that can fit into the USC School of Music's recital hall. I stood for the first half of the opera and was lucky enough to get a seat after intermission.
The production took place in the recital hall with projectors displaying the orchestra, subtitles for the songs and random pictures and facts that were meant to accompany the show. At first, this seemed like an overload, but it was quickly evident that the projection system was carefully thought out beforehand.
Also, the character's wardrobes and props were out on the stage to keep the audience from becoming an audience. One of Kurt Weil's trademarks was to make the theater seem artificial. In order to accomplish this, the characters sometimes step out of the dialogue and speak directly to the audience as a member.
The main roles of Mack, Polly and Jeremiah Peachum (Polly's father) were filled by Walter Cuttino, Krista Wilhelmsen and Gregory Jebaily respectively. They all sang beautifully, and their German diction was very clear and precise.
The opera ended with a very beautiful finale followed by thunderous applause from the audience. It was a stunning performance and a great Saturday night.
But it should be.
Taken from an older work, "Beggar's Opera" by John Gay, "Beggar's Opera" is a work that captures Gay's Marxist spirit and the corruption of the judicial system of that time in England.
Originally performed entirely in German in 1928 as "die Dreigroschenoper," it is one of a kind. The opera features a sly character by the name of "Macheath" (or "Mack the Knife," as his lovers and enemies refer to him), who leads a band of plunderers and thieves in Soho London. Easily the most famous song from the opera, "Mack the Knife," has been performed by numerous artists including Bobby Darin and even Marilyn Manson.
Here's the short version of the plot: Mack, the successful and elusive thief-assassin, marries Polly Peachum. Polly betrays him to the police, who were allied with him in the beginning of the opera. Next, Mack escapes, sleeps with his favorite whore (yes, there are whores in the opera) and is caught again. Right as Mack is about to be hanged for his numerous crimes, the queen's messenger shows up and pardons him.
And, of course, all of this is done with a comedic attitude in mind, for the sake of laughter and gaiety.
I saw the Saturday night performance and was immediately impressed by the amount of people that can fit into the USC School of Music's recital hall. I stood for the first half of the opera and was lucky enough to get a seat after intermission.
The production took place in the recital hall with projectors displaying the orchestra, subtitles for the songs and random pictures and facts that were meant to accompany the show. At first, this seemed like an overload, but it was quickly evident that the projection system was carefully thought out beforehand.
Also, the character's wardrobes and props were out on the stage to keep the audience from becoming an audience. One of Kurt Weil's trademarks was to make the theater seem artificial. In order to accomplish this, the characters sometimes step out of the dialogue and speak directly to the audience as a member.
The main roles of Mack, Polly and Jeremiah Peachum (Polly's father) were filled by Walter Cuttino, Krista Wilhelmsen and Gregory Jebaily respectively. They all sang beautifully, and their German diction was very clear and precise.
The opera ended with a very beautiful finale followed by thunderous applause from the audience. It was a stunning performance and a great Saturday night.
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