There is little doubt that very few theatre patrons are familiar with the Donmar Warehouse (Covent Gardens) translation of Bertolt Brecht and Kurt Weill's heralded "Die Dreigroschenoper" ("The Threepenny Opera"). The translation rendered in 1998 by Jeremy Sams (lyrics) and Robert MacDonald (book) is the fifth English translation since the work debuted in Germany in 1928 and by far the most seamy and gritty ever done.
Based on John Gay's "The Beggar's Opera," an 18th Century work conceived as a British answer to Italian opera, Brecht and Weill chose to compose their work on what was the 200th anniversary of its first performance. They elected to update the musical theatre piece to their present time. As with the original work, all of the men are criminals, including the police, and all of the women are either whores or reprobates.
The current joint production by the Allways Lounge and Theatre and the Cripple Creek Theatre Company of "The Threepenny Opera" is in its last day at the Allways Lounge, 2240 St. Claude Avenue, and is one of the most interesting mountings ever done there. Instead of utilizing the typical performing space in the rear of the facility, director Dennis Monn, known for his co-founding of the New Orleans Fringe Festival, opted to put the work in the area of the lounge with the actors serving drinks before and between the three acts. Actors played their parts in front of columns, along the sides of walls and at the bar in this unusual staging.
Monn also decided to cast the roles with relatively unknown quantities, electing to tap Ratty Scurvics, a Bywater musician with little previous acting credits, for the primary role of "Captain" Macheath (a,k.a. "Mack the Knife"). Scurvics was superb as he settled into the role with brilliant renditions of the second act's "Ballad of the Easy Life" and "What Keeps a man Alive." His performance was masterful culminating with the final scene in act three, where he gets his comeupance. Other featured roles went to Altercation as Jenny Diver, Pandora Gastelum as Macheath's wife, Polly Peachum, and Monica Harris as Lucy Brown. From the opening with Altercation's rendition of "Flick Knife Song," what most recognize as the song "Mack the Knife," there is little doubt that this staging would be different. Altercation's strident singing and striking looks made her an ideal choice as a woman who is trapped in a deadend existence, accepting the affections of criminals out of fear and for money. Gastelum's turn with "Pirate Jenny" and "Polly's Song" proved to be quite good too, but the delicious "Jealousy Duet" she shared with Harris as they compete for the affection of Macheath was a highlight of the production.
Veteran performers Chris Wecklein and Becky Allen portrayed Mr. and Mrs. Peachum, Polly's parents who well handle many of the bigger numbers in the show including "Kids Today," "What's the Point" and "The Ballad of Sexual Imperative." Longtime actor and director Donald Lewis enjoyed an all-too-short duet with Scurvics in "Cannon Song" as he played the corrupt chief of police Tiger Brown. Cripple Creek's Andrew Vaught, who also served as assistant director for the production, handled his dual roles of Reverend Kimball and the Narrator with great aplomb.
Macheath's dumbwitted henchmen were played convincingly by Raymond "Moose" Jackson as Mathew of the Mint, Kristian Rotharmel as Crooked Finger Jake and Kenneth Woo as Ned. Their most surprising work was in Act two's well-choreographed brothel scene with Emilie Whelan as Vixen and Oops the Clown as Dolly.
Erin Alexander's wonderful makeup designs had everyone in whiteface, including the band members. It added a surreal effect to the actors and added menace to the criminals and a decidedly withdrawn look to the prostitutes and other disreputable fellows found in the piece.
Adding to the enjoyment of the work was the exceptional play of the band that accompanied the singers and played the score with absolute precision. Walter McClements played accordion, trumpet and percussion and served as band director and orchestrator ,while pianist Harry Mayronne, Jr. served as musical director. They were joined by Matt Bell on guitar, B. Aubry Freeman on bass and Aurora Nealand on saxophone and clarinet.
Unfortunately, only one performance remains for this very stark and riveting production. Word of mouth spread about how special this production has been and so most of this last week's shows were sellouts. The likelihood that a seat will be free for the final performance tonight at 6:00 p.m. is at best a wishful thought.
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