BWW Reviews: The Threepenny Opera at the Arden

The Threepenny Opera was written by Bertolt Brecht in 1928. Yes that Brecht, whose style of epic theater is now commonly known for being edgy and breaking down barriers between the audience and the performers. Truly, Brecht believed that theatre should confront the audience forcing them to take a critical look at both themselves and the action presented on stage. In his mind this was best achieved not through connecting with the characters, but rather by calling the audience's attention to the artificial nature of the theater. Threepenny Opera operates on these principles, and the Arden's production achieves this through the intimate nature of their blackbox space, Terrence J. Nolen's direction, and the technical aspects of the show. (For instance, performers often begin a song by carrying an old fashioned microphone on stage - complete with stand and cord.) However, while the show succeeds in emphasizing artifice of the stage, its weakness lies in the failed attempt to make the audience feel truly alienated.

Led by Terence Archie as London's notorious criminal MacHeath, the cast of the Arden's Threepenny is made up of an incredibly talented group of actors.  Act 1 truly belongs to Victoria Frings as his new bride, Polly Peachum. Her golden vocals shine with "Pirate Jenny" and "Barbara Song" as she effortlessly slips from high soprano to deeper chest voice. Scott Greer gives a wonderful performance as Mr. Peachum. While his business may not be the most ethical, he manages to rise above this and create an incredibly charming character. Mary Martello provides a perfect complement to this in her rather conniving role as Mrs. Peachum. Other performers of note are Anthony Lawton as a very endearing police chief Tiger Brown, Rachel Wallace as MacHeath's former lover Jenny, and Liz Filios as MacHeath's other wife Lucy.

Threepenny features music by Krut Weill - you've probably heard "Mack the Knife" as it became a popular standard for crooners. Though the show is certainly a predecessor of the musical theater genre we know today, it is more a play with a variety of musical numbers and the brilliant orchestra led by Eric Ebbenga remains visible above the stage floor throughout the show. The production values truly steal the show. The scenic design by Tom Gleason is constructed mainly of brick, metal and wood provides varying mix of catwalks and staircases, trap doors, platforms, and doors. The set compliments the Brecht principle inherent in the show in all senses including the more obvious nod of dressing room tables and mirrors on stage left. Rosmarie McKelvey's costumes compliment the characters perfectly both their figures and their personalities. The use of projection as designed by Jorge Cousineau is also incredibly well done - especially with the slogans in Mr. Peachum's office.  The most stunning element of this production is Thom Weaver's lighting design.  Simply the number of instruments - controlled by both tech and performers - is impressive.  Not only does the lighting add to the beauty of the stage picture, it also helps alert the audience to the constructed action on the stage.

Overall, The Threepenny Opera is a perfect example of the fantastic work being done at the Arden. The fact that the audience's attention seemed resolute throughout the three hour, three-act production is truly a testament to the actors, director and creative team.

The Threepenny Opera ran at the Arden Theatre Company from September 30-November 7. For more information see the official press release and be sure to check out the rest of the season!

 

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