* Notes *
West Edge Opera performed an English language version of Brecht's The Threepenny Opera for a second time yesterday afternoon. The darkly funny piece features much bawdy humor with some fine singing, though somewhat marred by the location of the theater.
What was clear right away was this is a play with songs rather than an opera. The opening number, "The Ballad of Mack the Knife," looked very pretty. I enjoy Christine Crook's costume design, which has a vintage circus feel, lots of black and white stripes, red and pink accents, and lovely lacy details. The singing here ensemble members (pictured with Sarah Coit as Jenny and Catherine Cook as Mrs. Peachum, photograph by Cory Weaver) lacked punch, perhaps because it was so hot at the Bridge Yard that the back of the stage was left open, as were some of the doors or windows at the entrance. Again, there was much noise from the highway and even a helicopter during the second half.
The staging is very much in keeping with what director Elkhannah Pulitzer has presented at West Edge before. There's lots of curtains used to hide the stage when scenes are being switched out, lots of attractive tableaux, and plenty of people in various states of undress. I am not sure the circus artists were used to the best effect, any acrobatics that appeared were pretty subtle. But the finale was quite fun and involved a tricycle rather than a horse and a confetti gun.
Weill's music was conducted by David Möschler, who also played the piano and harmonium with six other instrumentalists, all except the trumpeter used more than one instrument. There were times when the orchestra was ahead of the singers, but the charming music did come through and I liked hearing it even if it seemed less than primary.
All the acting was very strong. Tenor Derek Chester is winning as Macheath and has an impressive physicality, he spends much of his time on stage without a shirt on. He was hard to hear at times, especially when he descended into the orchestra pit at a certain point, which probably was only visible and fully audible from the first few rows of the theater. That said, Chester is very charismatic, and it was easy to see why all the young women in this work are crazy for the character.
Soprano Maya Kherani (pictured with Derek Chester, photograph by Cory Weaver) is an appealing Polly Peachum, very much in command of herself and at the same time a brooding adolescent on the couch in a hoodie at her parent's house. Some of her sibilants were harsh, especially when speaking, but her voice is brightly pleasant. Her fellow sopranos Sarah Coit (Jenny) and Erin O'Meally (Lucy) were both distinct, Coit was more measured and placid, while O'Meally was brasher.
Both baritone Jonathan Spencer as Peachum and bass-baritone Robert Stafford as Tiger Brown were funny, Spencer was a touch quiet while Stafford was more robust. The person who stole the show was definitely mezzo-soprano Catherine Cook as Mrs. Peachum, she's great at physical comedy and her voice cuts through the orchestra with ease.
* Tattling *
The performance was sold out and there was a lot more talking for this compared to the other two operas this season.
One of my friends was deeply disappointed the piece was not being done in the original German and he left during intermission.