49th Season
2004–2005
The Threepenny Opera
(Die Dreigroschenoper)
Music by Kurt Weill
Libretto by Bertolt Brecht
(Die Dreigroschenoper)
Music by Kurt Weill
Libretto by Bertolt Brecht
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49th Season 2004–2005 |
The Threepenny Opera (Die Dreigroschenoper) Music by Kurt Weill Libretto by Bertolt Brecht |
Act I
In a Prologue at a busy open-air market, a Street Singer performs the “Ballad of Mack the Knife.” It recounts the exploits of a man whose gloves and fine manners hide a career of murder, rape, and plunder.
The act opens on the premises of Jonathan Jeremiah Peachum, the Beggar’s Friend. His job is to devise ways to soften the hearts of the public to the plight of the poor and downtrodden. Needless to say, he takes a hefty commission for his services. He explains all this to Filch, a young man who has seen better days and who wishes to try his luck on the street. Peachum and his wife get Filch outfitted and on his way. Meanwhile they discuss their daughter Polly, who has been courted by a mysterious gentleman. They bemoan the romantic tendencies of youth in “The Instead Of Song.” Eventually, Peachum realizes that Polly’s beau is actually Captain Macheath, the devil-may-care highwayman and all-around good-for-nothing commonly known as Mack the Knife. But when they go to tell Polly of her suitor’s real identity, they find that Polly has not come home. Her parents fear the worst.
The scene shifts to a stable where Macheath has brought Polly to celebrate their wedding. Macheath’s gang provides the furniture and the wedding banquet: all stolen from the city’s most fashionable drawing rooms and emporia. Polly seems appalled at the provenance of her wedding gifts; on the other hand she seems happy and at ease in the company of her low-life husband and his cronies. She even makes up for the lack of entertainment at the festivities by singing a song for everyone, “The Ballad of Pirate Jenny.” The party is interrupted by the Chief of Police, Tiger Brown, who, it turns out, is Macheath’s old friend. They served together in the army and have maintained a symbiotic relationship ever since. Together they remember the good old days in “The Cannon Song.” Then Brown leaves to prepare for the upcoming Coronation, and the gang drifts away to leave the newlyweds alone. Macheath and Polly sing “The Love Song,” a beautiful air on romance in modern times.
The next morning Polly goes home to confront her parents, who are furious that she has thrown herself away in this manner. Besides, Peachum had expected Polly to be his support in old age. He is not about to give her away to a highwayman. He and Mrs. Peachum devise a scheme to entrap Macheath and turn him over to the authorities. Not only will he then be hanged, but they will receive the reward for his capture. The plan involves bribing the prostitutes to turn Macheath in when he next appears. Mrs. Peachum is certain he will not be able to resist their allures, even though he’s now married. To that end she sings “The Ballad of Sexual Dependency.” The act ends with the Peachum family singing about the sorrowful plight of mankind which forces us to betray our own moral sense in order to survive.
Act II
Act II opens with Polly hurrying to Macheath to warn him of his peril. He is not terribly worried; but he nevertheless instructs her in the ways of his business and tells her to mind the store while he’s gone. As he leaves, he and Polly reprise a bit of “The Love Song;” and then Polly sings “Polly’s Song,” bemoaning his departure and the possible end of their love.
In a brief interlude on the street, Mrs. Peachum offers a handsome sum to Jenny, a lady of the night, if she will turn Macheath in. Mrs. Peachum then reprises “The Song of Sexual Dependency.”
True to his nature, Macheath makes a detour during his escape in order to visit the brothel. His erstwhile love, Jenny, reads his palm and predicts his sorrow. Macheath jokes with Jake, a member of his gang and obviously another regular at the whorehouse, about the warrant for his arrest. When he realizes that Jenny has slipped out of the house, Macheath relates the story of his relationship with her. He begins to sing “The Pimp’s Tango.” and Jenny eventually joins in when she returns with Mrs. Peachum and the police. At the end of the song, Macheath is taken into custody.
The scene shifts to Newgate Prison where Macheath confronts Tiger Brown about his arrest. Brown is practically brought to tears by Macheath’s scornful attitude. Brown leaves Macheath in the care of Constable Smith who, for a proper sum, agrees to exchange Macheath’s heavy manacles for something less uncomfortable. Then Macheath sings “The Ballad of the Easy Life.” When he finishes, Lucy comes to visit. Not only is she another of his old flames, she is also Tiger Brown’s daughter. She berates Macheath for taking up with Polly; and her derision only intensifies when Polly herself appears at Macheath’s cell door. Polly and Lucy mince no words, as is seen in the “Jealousy Duet.” A catfight over Macheath is prevented by the arrival of Mrs. Peachum who drags her daughter away, much to Polly’s chagrin. Left alone with Lucy, Macheath worms his way back into her good graces, and she helps him escape. Brown discovers the prison break and is ecstatic, but his joy is short-lived. Peachum arrives to view his incarcerated son-in-law and instead finds the Chief of Police alone in the cellblock. Peachum threatens Brown with the only weapon in his arsenal: humiliation. If Brown doesn’t recapture his friend, Peachum will rally the city’s beggars to disrupt the new Queen’s Coronation. Brown, seeing his own neck is at stake, goes off to betray his friend.
The Act II Finale has Macheath, Mrs. Peachum, and the ensemble asking “What Keeps a Man Alive?” The answer is: whatever it takes to survive. First comes food, then comes the sense of right and wrong. Morality is a luxury which only the truly comfortable can afford.
Act III
Act III opens with Peachum preparing his beggars for a demonstration that will wreck the Coronation. Meanwhile, the prostitutes arrive to collect their reward. But by this time, of course, Macheath is long gone, and the Peachums refuse to ante up. No Macheath, no money. Jenny is disgusted at Peachum’s lack of honor; nevertheless, she does disingenuously let slip the fact that Macheath has again gone off to his women and is now in the arms of Suky Tawdry. The problem, of course, is getting the police to arrest him, and for the moment Tiger Brown has no inclination to do so. In fact, he believes he’s solved the problem by deciding to arrest Peachum and his beggars instead of arresting Macheath. He reasons that if the rabble is off the street, the Coronation will go off without a hitch. But Peachum is too smart for him. After singing “The Useless Song” for Brown, Peachum explains that there are more beggars and cripples in the city than Brown can arrest, and they are all in the employ of Jonathan Jeremiah Peachum. And the one thing the rich and the royals cannot abide is poverty showing its ugly face amidst their revelry. Either Macheath is arrested or Peachum will inundate the Coronation with his flood of dispossessed humanity — and Brown will fail his patrons. Brown has no choice but to arrest Macheath and Jenny again betrays his whereabouts.
In an interlude, Jenny sings “The Solomon Song,” in which she points out that the strong points of the great often lead to their downfall.
Macheath is returned to Newgate, and this time his execution is imminent. The powers that be want to get the deed over with before the Coronation; Macheath has but an hour to live. Once again he attempts to bribe Constable Smith, but this time the price is too high and Macheath realizes his life is truly in danger. He sings “The Call From the Grave” to energize his friends to help him. He presses each of his visitors to come up with the cash he needs, but each in turn fails him: First the members of his gang, and then even his wife Polly. Finally, Brown comes to the cell, but even he offers no help. Macheath hits bottom; and surrounded by his acquaintances, he sings “The Death Message,” in which he begs forgiveness from all.
A procession leads the company from the cell to the gallows. But just as Macheath is about to be hanged, Peachum addresses the audience and announces that while real life demands Macheath’s execution, mercy does exist — at least in opera. At this point the Queen’s Messenger arrives amidst an ensemble chorus, and Macheath’s reprieve is proclaimed. In addition, he is ennobled by his Sovereign and a Happy Ending can now take place. A grand chorale closes the opera, reminding us that the events in life and art often do not coincide and that the poor truly need our compassion
