An Impressive Production Of a Show With History
This article originally appeared on Sept. 13, 2012, in Compass, published by The Lakeville Journal Co.
Theater: ‘The Threepenny Opera’
By Darryl Gangloff
In the opening scene of “The Threepenny Opera” the stage of Rhinebeck’s Performing Arts Center is transformed into the back alleys of 19th-century London. A single, dim light hanging from the ceiling casts dark shadows on the ensemble of thieves, prostitutes and beggars, posing as still as a painting on the impressive two-story set that features archways and curving staircases (and even a hidden prison).
The costumes pulled me into the story before any of the cast members said a word. The beggars in their rags; the thieves in their suits; the girls in their corsets. As the band played from its spot on the second-floor balcony, the street singer (played by Zack Marshall, who acts as the narrator), led the ensemble in the “Ballad of Mack the Knife,” introducing the audience to Macheath, aka Mack the Knife, the most notorious criminal in London. Paul Carter’s tall height and low voice allow him to fill the expensive suits of the safecracker, giving him an intimidation factor — as well as some great comedic elements later in the musical.
As the “opera for beggars” continued, I was consistently impressed with the vocal performances of the cast. Every member brings a professional quality to the musical numbers, which are worth the price of admission alone.
Mr. and Mrs. Peachum (Thomas Vernie and Cat Barney), who train and outfit beggars for a percentage of their earnings, have great chemistry as they interact with their “employees” and mock the existence of love. They’re not happy to discover that their daughter, Polly (Becca Cotton), has secretly married Mack the Knife, which leads to them try and get the criminal kingpin arrested. Cotton’s soprano voice is superb; she hits high notes that could shatter glass, and sounds amazing while doing it.
As the “will Mack be caught and hanged” plotline unfolds, two songs stood out as perfection on the stage. The first was “Pirate Jenny,” performed by — you guessed it — Jenny (Lisa Lynds), Mack’s prostitute ex-lover. As the lights dimmed and a spotlight illuminated the actress, the audience seemed to hold its breath as Lynds belted out the tale of a maid who gains command of a pirate ship to enact her revenge on the townspeople who ignored her.
The second was “Jealousy Duet,” in which Polly and Lucy, who also claims to be married to Mack and happens to be the daughter of the police commissioner, fight for the criminal’s affection. Molly Parker-Myers brings an amazing comedic energy to Lucy, as well as a powerhouse voice. The two women played perfectly off each other, trading high note for high note.
The musical itself has quite a lengthy and in-depth history. Kurt Weill and Bertolt Brecht adapted it from John Gay’s “The Beggar’s Opera” to satirize traditional opera and, as the Center puts it, offer a “critique of the rise of fascism and the corruption of the powerful.” It was first performed in Berlin in 1928 before being banned in Germany in 1933, forcing Weill and Brecht to leave their native land before World War II.
All theater-goers should enjoy this cast’s impressive vocal performances, as well as the sets and costumes.
“The Threepenny Opera” is running at the Center for Performing Arts at Rhinebeck through Sept. 23 at 8 p.m. on Fridays and Saturdays, and 3 p.m. on Sundays. Tickets are $26 for adults and $24 for seniors. Call the box office at 845-876-3080 or go to www.centerforperformingarts.org.
Theater: ‘The Threepenny Opera’
By Darryl Gangloff
In the opening scene of “The Threepenny Opera” the stage of Rhinebeck’s Performing Arts Center is transformed into the back alleys of 19th-century London. A single, dim light hanging from the ceiling casts dark shadows on the ensemble of thieves, prostitutes and beggars, posing as still as a painting on the impressive two-story set that features archways and curving staircases (and even a hidden prison).
The costumes pulled me into the story before any of the cast members said a word. The beggars in their rags; the thieves in their suits; the girls in their corsets. As the band played from its spot on the second-floor balcony, the street singer (played by Zack Marshall, who acts as the narrator), led the ensemble in the “Ballad of Mack the Knife,” introducing the audience to Macheath, aka Mack the Knife, the most notorious criminal in London. Paul Carter’s tall height and low voice allow him to fill the expensive suits of the safecracker, giving him an intimidation factor — as well as some great comedic elements later in the musical.
As the “opera for beggars” continued, I was consistently impressed with the vocal performances of the cast. Every member brings a professional quality to the musical numbers, which are worth the price of admission alone.
Mr. and Mrs. Peachum (Thomas Vernie and Cat Barney), who train and outfit beggars for a percentage of their earnings, have great chemistry as they interact with their “employees” and mock the existence of love. They’re not happy to discover that their daughter, Polly (Becca Cotton), has secretly married Mack the Knife, which leads to them try and get the criminal kingpin arrested. Cotton’s soprano voice is superb; she hits high notes that could shatter glass, and sounds amazing while doing it.
As the “will Mack be caught and hanged” plotline unfolds, two songs stood out as perfection on the stage. The first was “Pirate Jenny,” performed by — you guessed it — Jenny (Lisa Lynds), Mack’s prostitute ex-lover. As the lights dimmed and a spotlight illuminated the actress, the audience seemed to hold its breath as Lynds belted out the tale of a maid who gains command of a pirate ship to enact her revenge on the townspeople who ignored her.
The second was “Jealousy Duet,” in which Polly and Lucy, who also claims to be married to Mack and happens to be the daughter of the police commissioner, fight for the criminal’s affection. Molly Parker-Myers brings an amazing comedic energy to Lucy, as well as a powerhouse voice. The two women played perfectly off each other, trading high note for high note.
The musical itself has quite a lengthy and in-depth history. Kurt Weill and Bertolt Brecht adapted it from John Gay’s “The Beggar’s Opera” to satirize traditional opera and, as the Center puts it, offer a “critique of the rise of fascism and the corruption of the powerful.” It was first performed in Berlin in 1928 before being banned in Germany in 1933, forcing Weill and Brecht to leave their native land before World War II.
All theater-goers should enjoy this cast’s impressive vocal performances, as well as the sets and costumes.
“The Threepenny Opera” is running at the Center for Performing Arts at Rhinebeck through Sept. 23 at 8 p.m. on Fridays and Saturdays, and 3 p.m. on Sundays. Tickets are $26 for adults and $24 for seniors. Call the box office at 845-876-3080 or go to www.centerforperformingarts.org.