
Brecht is known by many for his theory, and Norris tackles
it head-on with shameless signage, actors shouting ‘scene change’ and
‘interval’, and a literal and recurring reference to ‘tearing up’ the theatre.
Even Vicki Mortimer’s hodgepodge, wire-showing set slices into the
theatricality of the event. But do not fear: the ultimate aim here is
entertainment, and the blistering cleverness seldom overshadows Stephen’s comic
and blunt (if not occasionally formulaic) script, and Weill’s iconic score.
In this fable of sex, crime, and immorality, Kinnear
struts a cool and callous Macheath even when, after marrying Rosalie Craig’s
demure-yet-devilish Polly Peachum, the wrath of her parents brings about his
almost downfall. And, having admitted trepidation about belting out the songs live on stage, Kinnear shows that there's a musical theatre career in him yet. Sharon Small’s Jenny Diver, Macheath’s old love from the
Wapping brothel, offers up real tragic moments, while both Debbie Krup as Lucy
and Craig simmer confidently in the Jealousy Duet. The music is executed
effortlessly by the mobile band, although this at times results in lyrics being
lost.
Yet it’s the patchwork of Weimar pastiche, the endlessly
stylized and constantly referential visuals that are the highlight. Haydn
Gwynne’s Celia Peachum is the spitting image of Otto Dix’s Anita Berber portrait, while Mr Peachum (Nick Holder) is decked in
double-breasted suit, Louise Brooks bob, and Dietrich eyebrows. They are the
stand-outs, oozing character from every limb. Cabaret corsets, a hanging
half-moon, knee-high red leather boots, and Valkyrie-inspired helmets all
enrich the embellished texture and draw inspiration from the source text, John
Day’s also satirical The Beggar’s Opera.
Raucous, irreverent, and brutal, this
epic brings the
Victorian East End to the present-day Southbank. Along with more than a few
Weimar allusions, it seamlessly alludes to the long history of the play’s
origins while ominously noting its continuing significance in today’s political
climate.
What | The Threepenny Opera review |
Where | National Theatre, South Bank, London, SE1 9PX | MAP |
Nearest tube | Waterloo (underground) |
When |
18 May 16 – 01 Oct 16, 7:30 PM – 10:00 PM |
Price | £5 - £50 |
Website | Click here for more information |