Theater Review: Brown/Trinity’s Threepenny Opera
Wednesday, May 18, 2011
Near the end of the Brown/Trinity Rep MFA program’s production of The Threepenny Opera, one of the characters claims “only artists can tug at anybody’s heartstrings now.” Whether you agree with that or not, you can’t argue that art, and theater in particular, has a way of evoking a range of emotions. Unfortunately, Threepenny presents a grim look at human nature while failing to create any deep sense of concern for or investment in the characters. This isn’t the fault, however, of the capable actors, but rather of the show itself, of which both the plot and the music leave something to be desired.
Plot Problems
The dark musical is set in tawdry Victorian London and follows criminal mastermind Macheath “Mac the Knife” Messer (Richard Williams) and his battle with the law. When he marries young Polly Peachum (Jaselyn Blanchard), he has to deal with the schemes of her father Jeremiah Peachum (Chris Berry), who runs and profits from the community of beggars in London. As far as plot goes, it’s pretty thin, with largely unlikable characters. But once again, that’s because of the way they are written, not the actors.
The main character Mac is set up as something of an anti-hero - he’s a major criminal, but he’s also charming, dashing, and witty. Williams does a good job of portraying both his villainous side and his roguish appeal, but in the end the character never rises above his image as a cunning playboy to become a sympathetic leading man. Mr.
Peachum is the same; he takes advantage of the London poor to make a living, and while we understand that he’s doing what he must to survive, he just comes off as a conniving blowhard. GET THE LATEST BREAKING NEWS HERE -- SIGN UP FOR GOLOCAL FREE DAILY EBLAST
The question at the heart of Threepenny is “what keeps mankind alive?” But the answer it provides is empty and unsatisfying. It paints a bleak picture of human kindness (or the lack thereof), and that’s all. The ending doesn’t give any meaningful payoff, and it is confusing to boot. The show tries to satirically comment on theatrical conventions, but the extremity of it is a bit overwrought. Threepenny is also quite long. Originally written in three acts, this production combines them into just two , which makes the second act feel very drawn out and laboriously slow.
It’s all about the ladies
The women of Threepenny really steal the show. Zarina Shea, who plays Mr. Peachum’s perpetually drunk wife, is hilarious. She has a great sense of comedic timing and nails the part of the controlling wife without going overboard. Blanchard is able to switch between the sweet, innocent Polly and the more rebellious Polly, and she has a lovely voice, although she could have projected a bit more. Projection is no problem for Tiffany Nichole Greene, playing the role of Mac’s other girlfriend Lucy, whose huge voice explodes from the moment she begins singing. Her duet with Blanchard called “Jealousy Duet” is the most entertaining number in the show, and Shea’s recurring “Ballad of Sexual Obsession” is creepy and funny at the same time. A smaller but still notable role is Mac’s other other girlfriend Jenny, played by Charlotte Graham. Her subtle performance and impressive vocal ability during her solo number “Solomon Song” complete the trio of Mac’s illicit ladies, who all excel in their individual ways.
Saving grace is dark humor
The music of the show is overall pretty unremarkable. It is mostly all in minor keys with a one-two march beat. The opening song, “The Ballad of Mac the Knife,” is known by most people as a swinging standard made famous by Louis Armstrong and Bobby Darin. The original is much more sinister, a dark prologue that recounts Mac’s transgressions and introduces the tone of the musical. It’s memorable and compelling, unlike most of the other songs, which are rather one-note in sound.
However, the air of dark humor in most of the lyrics (how could you take a song called “The Pimp’s Tango” completely seriously?) helps you bypass the mediocre music. The group numbers are great to watch, with beggars, thieves, and prostitutes making good use of the deceptively large stage, which is sparse and austere yet not boring, aided by the fantastic dramatic lighting.
Every cast member is totally committed and talented, and they make the otherwise downtrodden Threepenny appealing. Whether they are dancing around in corsets and lace or shouting out vulgarities (this show is definitely not for the young or the faint of heart), every lead and ensemble member shines. If you want to be right in the action, which is exciting but also a little scary, I suggest sitting in the front row right along the stage. This Threepenny Opera is a prime example of how a theatrical work can be elevated by the skill and passion of its performers.
The Threepenny Opera, running through May 22. Brown University/Trinity Rep MFA Program, at the Citizens Bank Theatre, Pell Chafee Performance Center, 87 Empire St, Providence. Call 351-4242 for tickets, or purchase here.
Photos, from top: (Foreground) Charlotte Graham ’11, (L to R) Mary C. Davis '12, Rachel Christopher '11, Brandon Drea '11, Ruth Coughlin '12, Caroline Kaplan '12 and Olivia D'Ambrosio '11; Philippe Bowgen ’12 and Rich Williams ‘11. Photos by Mark Turek.
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