THE UNIVERSITY OF UTAH’S PRODUCTION OF ‘THE THREEPENNY OPERA’ MAKES POWERFUL STATEMENT

UNIVERSITY OF UTAH, The Threepenny Opera, Babcock Theatre, Nov. 9; through Nov. 23, tickets at 801-581-7100 or www.kingtix.com

When Bertolt Brecht and Kurt Weill wrote The Threepenny Opera they probably didn’t expect it to have the lasting success that it’s enjoyed over the past nine decades. But as a biting satire of corruption and capitalism, the story is timeless. It no doubt resonated with audiences in Germany’s fractured and morally and financially bankrupt Weimar Republic of the 1920s, and it certainly hits a nerve with audiences in post-Great Recession America.

The Brecht/Weill show, in Marc Blitzstein’s wonderful English translation from the 1950s, is currently on stage at the Babcock Theatre, presented by the University of Utah’s musical theatre department. Directed by Denny Berry, with simple yet effective sets and striking projected images by Dan Evans, the work makes a powerful statement and drives home Brecht’s indictment of the inequality of a society’s class structure.

Mark Fossen as Macheath and Connor Norton as Polly Peachum. (Photo: Courtesy University of Utah)

The production is exceptionally well cast, and at Sunday’s performance everyone, from the leads to the ensemble, gave a compelling and sincere account of their respective roles. This is the type of cast that Brecht no doubt would have admired: they are all strong and appealing performers who can handle the musical numbers without turning the work into an operatic production. They are singing actors of considerable talent.

For the hefty role of Macheath, the head of a band of thieves, it was Berry’s decision to bring in the professional actor Mark Fossen. He gave a compelling account and invested himself fully in the role. He has a formidable stage presence and with his   forceful characterization one can immediately understand why he is able to command respect from his motley band and mesmerize women.

As Polly Peachum, Macheath’s main love interest, Connor Norton was absolutely stunning. She, too, gave a solid performance that captured her character perfectly, and the chemistry between her and Fossen was palpable. Her singing and acting were spot on and she is definitely a young talent on her way up.

McKenna Kay Jensen as Mrs. Peachum, Connor Norton as Polly and Michael S. Johnson as Mr. Peachum (Photo: Courtesy University of Utah)

The same can also be said of Michael S. Johnson as Mr. Peachum and McKenna Kay Jensen as his wife. They were captivating in their roles and brought depth and well crafted definition to their performances.

In smaller roles, particular mention must be made of Alexandra Camastro as Jenny; Brian Manternach as Tiger Brown, the police commissioner; Austin John Smith as the Street Singer; and Lauren Rathbun as Lucy, Tiger Brown’s daughter. They were all invested in their characters and gave convincing portrayals.

The ensemble was also spot on with its singing and acting, and the band, under the capable direction of keyboardist Alex Marshall, played well and offered good support. Berry’s vision and conceptualization of the show are dynamic and also crucial to the success of this production, and her direction was impeccable and moved the action along at a good pace.

This is without question a must-see production. Seize the opportunity. Who knows when The Threepenny Opera will be seen again in Salt Lake City.

This entry was posted in Concert Reviews, Live Theater Coverage by Edward Reichel. Bookmark the permalink.

About Edward Reichel

Edward Reichel, author, writer and composer, has been covering the classical music scene in Utah since 1997. For many years he served as the primary music critic for the Deseret News. He has also written for a number of publications, including Chamber Music Magazine, OPERA Magazine, 15 Bytes, Park City Magazine and Salt Lake Magazine. He holds a Ph.D. in composition from the University of California at Santa Barbara. He can be reached at ed.reichel@gmail.com. Reichel Recommends is also on Twitter @ReichelArts.

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