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The Threepenny Opera review at the Olivier, National Theatre – ‘beautifully illuminated’

Brecht and Weill’s The Threepenny Opera – here self-consciously dubbed the 3 Penny Opera – is blessed with one of the great scores of modern musical theatre. Like Show Boat which opened the year before the Threepenny Opera premiered in Berlin in 1928, it was a true ground-breaker – but both shows also suffer from unwieldy books that make staging them today a challenge.

Their respective creative teams have come up with innovative solutions for both to make them newly viable. At the New London, director Daniel Evans has used a heavily edited new version of Show Boat that compresses its book while retaining all the glories of the score, while at the National, director Rufus Norris and playwright Simon Stephens have gone for broke with a staging and adaptation that convey the piece’s complexities – a larger than life parable of amoral greed, subversive sexuality and being called to account by rough justice – in a way that is frequently bonkers. A gallery of grotesques is paraded before us. If it sometimes still feels overall like a bit of a scattergun mess, each of the elements has been individually so finely tuned that we surrender to the world that is being created.

This is a rough theatre staging – you do wonder if the National blew all of its musical theatre set budget on Norris’s production of Wonder.land last year.  The set on the yawning wide stage of the Olivier is made up of a series of wooden theatrical flats – half crescent moon flown in from the flies with an actor or two on board comprises the sole spectacle.

Instead, the lure and allure of the evening is provided by a crack company of performers, led by an insinuatingly sinister Rory Kinnear as Macheath, making a very creditable fully-fledged singing debut. He’s surrounded by more experienced musical voices, including a scene-stealing opening rendition of Mack the Knife, sung by George Ikediashi, as the Balladeer, a performer best known for his cabaret alter ego, Le Gateau Chocolat.

There’s also strikingly characterised work from Nick Holder and Haydn Gwynne  as the Peachums, whose daughter Polly – beautifully sung by Rosalie Craig – marries Macheath. Debbie Kurup is suitably fiery as Lucy Brown, whom Macheath is also pledged to. It is also notable, because it’s so rare, to see a wheelchair-using actor, Jamie Beddard, among the ensemble.

The music is given a jagged, full-blooded treatment by David Shrubsole’s onstage band, and there’s the added value that comes from the interpolation into the score of Surabaya Johnny from Brecht and Weill’s less successful 1929 show Happy End.

Verdict
A strong cast brilliantly illuminate the first major London outing in over twenty years of Brecht/Weill's musical masterpiece

Production

Production
The Threepenny Opera
Venue
Olivier, National Theatre
City
London
Starts
May 18, 2016
Ends
October 1, 2016
Press night
May 26, 2016
Authors
Bertolt Brecht and Kurt Weill in collaboration with Elisabeth Hauptmann
Adaptation
Simon Stephens
Director
Rufus Norris
Musical director
David Shrubsole
Choreographer
Imogen Knight
Set
Vicki Mortimer
Lighting
Paule Constable
Sound
Paul Arditti
Stage manager
Tariq Hussain
Production manager
Jane Suffling
Cast includes
Rory Kinnear, Nick Holder, Haydn Gwynne, Rosalie Craig, Sharon Small, Debbie Kurup, George Ikediashi
Casting
Jacob Sparrow
Producer
National Theatre
Running time
2hrs 45mins