The Threepenny Opera

From Free net encyclopedia

The Threepenny Opera (Die Dreigroschenoper) was a revolutionary piece of musical theatre written (in German) by the German dramatist Bertolt Brecht in collaboration with the composer Kurt Weill in 1928.

It directly challenges the audience by breaching the "fourth wall" with what he called Verfremdungseffekt, or "alienation technique." For example, slogans are projected on the back wall and the characters sometimes carry picket signs, or stand at times with their backs to the audience. The play challenges conventional notions of property as well as theater. It asks the central rhetorical question, "Who is the bigger criminal: He who robs a bank or he who founds one?"

Despite the title and alienating techniques, it is as much a musical comedy as it is an opera. Except for the "Overture", the songs are relatively simple in form and the orchestra is a distinctly jazzy small combo. The score, by Kurt Weill, was deeply influenced by jazz. The opening song, "Die Morität von Mackie Messer", was adopted by Louis Armstrong as "Mack the Knife", which later became a pop hit for Bobby Darin.

The opera is based on the English poet John Gay's 1728 operatic satire, The Beggar's Opera - which explains the setting of this quintessentially German work in London's Soho. The central character in both is MacHeath, who is an elegant highwayman in Gay's work and a vicious and violent anti-heroic criminal who sees himself as a businessman in the Brecht-Weill version. In homage to the earlier work, the opening number of the First Act , Morgenchoral des Peachum, is set to the music used in Gay's original.

In the Threepenny Opera, MacHeath (Mack the Knife) marries Polly Peachum. This displeases her father, Jonathan Peachum, who controls the beggars of London, and he endeavours to have MacHeath hanged. This is somewhat complicated by the fact that the chief of police, Tiger Brown, is an old friend of MacHeath's. Peachum exerts considerable political influence, and eventually MacHeath is arrested and imprisoned, escapes, then imprisoned once more. At the point of execution, in an unrestrained parody of a happy ending, a hard-riding messenger from the Queen (possibly meant to be Victoria, although the play's chronology is deliberately unclear) dramatically arrives at the last minute, and MacHeath is pardoned and given a baronetcy. (Another Brecht-Weill work is titled Happy End.)

The original German version was very popular. It was performed more than 10,000 times and translated into 18 languages. The play was translated into French as L'Opéra de quat'sous ("The Fourpenny Opera"). It has been translated into English several times. The best-known is Blitzstein's 1954 translation; other translations include Ralph Mannheim and John Willett's 1979 translation, noted Irish playwright and translator Frank McGuinness's in 1992, and Jeremy Sams's for a production at London's Donmar Warehouse in 1997.

There have been at least four film versions. German director Georg Wilhelm Pabst made German- and French-language versions simultaneously (a common practice in the early days of sound films) in 1931. Another version was directed by Wolfgang Staudte in West Germany in 1962 (scenes with Sammy Davis, Jr. were added for the American release). The most recent one was an American version (renamed Mack the Knife) in 1990, directed by Menahem Golan, with Raúl Juliá as Mackie and Roger Daltrey as the Streetsinger.

To date, there have been seven productions on Broadway. The first, adapted into English by Gifford Cochran and Jerrold Krimsky and staged by Francesco Von Mendelssohn, featured Robert Chisholm as MacHeath. It opened on April 13, 1933 and closed after only twelve performances.

In 1954, Lotte Lenya won a Tony Award for her role as Jenny in a somewhat softened version of the Threepenny Opera by Marc Blitzstein that played on and off Broadway for many years. Blitzstein translated the work into English, and Lenya, who was married to Weill, had also played the role of the "Pirate Jenny" in the original German production. Her ballad fantasizing leaving her work as a barmaid to lead a pirate assault on the city is the second best known song in the work with its chorus, "And the ship with eight sails, and with 50 cannons, will besiege the city". (Und das Schiff mit acht Segeln und mit fünfzig Kanonen wird die Stadt beschießen.)

A 1989 Broadway production, billed as 3 Penny Opera, featured Sting as MacHeath. The cast also boasted Georgia Brown as Mrs. Peachum, Maureen McGovern as Polly, and Kim Criswell as Lucy. Sting famously grew a thin moustache for the role, and when it closed after 65 performances he shaved it off onstage with a straight razor.

Nick Dear adapted the Threepenny Opera for the National Theatre in a play called The Villians Opera in 2002.

The musical, with a new translation by playwright Wallace Shawn, was brought back to Broadway [1] in March of 2006 with Alan Cumming playing the lead as MacHeath, Nellie McKay as Polly, Jim Dale as Mr. Peachum, Ana Gasteyer as Mrs. Peachum, Carlos Leon as Filch, and Cyndi Lauper playing Jenny Diver.

Also included in the 2006 cast are New York drag performers Hattie Hathaway (Brian Butterick), Edie (Christopher Kenney), Flotilla DeBarge (Kevin Rennard), and performance artist David Cale.

[edit]

Musical Numbers

Vorspiel und Erster Akt (Prelude and First Act)

nr 1 Ouverture

2 Moritat vom Mackie Messer (aka "Mack the Knife") (Ausrufer - Streetsinger)

3 Morgenchoral des Peachum {Peachum}

4 Anstatt-dass-Song (Peachum, Frau Peachum)

5 Hochzeitslied (Chor,)

6 Seeräuberjenny (Polly)*

7 Kanonensong (MacHeath, Brown)

8 Liebeslied (Polly, MacHeath)

9 Barbarasong (Polly)†

10 1. Dreigroschenfinale (Polly, Peachum, Frau Peachum)

Zweiter Akt (Second Act)

nr 11 Melodram (MacHeath)

11a Polly's Lied (Polly)

12 Ballade von der sexuellen Hörigkeit (Frau Peachum)

13 Zuhälterballade (Jenny, MacHeath)

14 Ballade vom angenehmen Leben (MacHeath)

15 Eifersuchtsduett (Lucy, Polly)

16 11. Dreigroschenfinale (MacHeath, Frau Peachum, choir)

Dritter Akt (Third Act)

nr 17 Lied von der Unzulänglichkeit menschlichen Strebens (Peachum)

18 Salomonsong (Jenny)

19 Ruf aus der Gruft (MacHeath)

20 Grabschrift (MacHeath)

20a Gang zum Galgen

21 111. Dreigroschenfinale (Brown, Frau Peachum, Peachum, MacHeath, Polly, choir.)

In many productions, "Seeräuberjenny" ("Pirate Jenny") is sung by the character of Jenny. In the original, it is sung by Polly during the wedding scene, but is sometimes moved to the Second Act and given to Jenny. In the 1956 off-Broadway production starring Lotte Lenya, Polly sang a version of the "Bilbao Song" from Brecht and Weill's "Happy End" in the first act wedding scene.

†In the Marc Blitztein adaptation, this song was moved to the second act and sung by the character of Lucy.

[edit]

Discography

Die Dreigroschenoper, 1958 CBS MK 42637. In German. Lotte Lenya, who also supervised the production, Soloists, Chorus, Orchestra from German radio, conducted by Wilhelm Brückner-Ruggeberg
The Threepenny Opera, 1997 CDJAY 1244. Donmar Warehouse production. Translated by Robert David Macdonald (Lyrics translated by Jeremy Sams).
The Threepenny Opera, 1990/2000 Decca 289 430 075-2. Ute Lemper, René Kollo, Milva, RIAS Berlin Sinfonietta, John Mauceri. Translated by Ralph Mannheim and John Willett.