Review - The Threepenny Opera (National Theatre)

Simon Stephen's dark, zany adaptation of one of Brecht's best loved works is brought to life by an impressive company of actors in Rufus Norris' new production of The Threepenny Opera. The production is heavily influenced by typical Epic Theatre conventions, which naturally complements the text and facilitates many of the play's comedic moments. Not only this, but this production's promise of 'filthy language and immoral behaviour' is fulfilled tenfold. 

Photo credit - Richard H Smith

A sunken-eyed Rory Kinnear is deliciously unnerving as gang leader Captain Macheath, the play's imposing antagonist. Sporting a pencil moustache and a sleek double breasted blazer, he walks a fine line between sleazy and suave, although at times this sleaziness undercuts the character's quiet ferocity. Meanwhile, Nick Holder is striking as Peachum, Macheath's enemy and the conniving controller of London's beggars. However, it is Rosalie Craig as Polly Peachum, Macheath's affable and sharp witted young bride, who dominates every scene. Her portrayal of Polly's growth is enthralling and she brings a new dynamic to many of the play's notable songs and scenes. 

Although The Threepenny Opera is typically a small, intimately staged play, this production works remarkably well on the Olivier Theatre stage. In fact, the large stage opens the door to a number of innovative yet ludicrous set pieces, which are used ingeniously throughout, and yet compliment the deliberately bare bones aesthetic of the production; however, Paule Constable's lighting design helps to create a sense of intimacy on stage, when the plot calls for it. 

Photo Credit - Richard H Smith

Despite being rather absurd in both plot and design, an air of chilling unease punctuates The Threepenny Opera's more sobering moments. Nowhere is this more noticeable than when Sharon Small's Jenny Diver, a prostitute addict and one of Macheath's many ex-lovers, takes centre stage to sing Surabaya Johnny, a powerful lamentation interspersed with moments of uncomfortable fragility. Small's haunting vocals and pained expressions make this rare grounded moment perfectly and unbearably uncomfortable. In this moment, as well as several others, the juxtaposition between Simon Stephens' blunt and abrupt translation of Brecht's dialogue and Kurt Weill's stirring and dramatic music is particularly apparent. 

From the characterisation to the costume design, everything about this production of The Threepenny Opera is gloriously grotesque and thoroughly entertaining from start to finish. The offbeat and often shocking content may at times be a little overbearing, but there is much to enjoy in this production, as both a spectacle and a compelling piece of theatre. 

The Threepenny Opera is running until October 1st at the National Theatre, London. Visit the theatre website here for more information and to buy tickets! 

Throwback - Othello (NT Live)

Theatre on film, is it a good or a bad idea? Well, before I attended my first NT Live screening last week I wasn’t sure what I thought of the idea, but on reflection I can’t believe I ever had doubts.

So firstly, let’s talk about Othello as a play. If you haven’t read it then I won’t spoil it, because it is a play that you simply must read! There are so many twists and turns that a short synopsis could never do it justice! However just to give you some context, here is the plot overview as given by the Nation Theatre…

 “Othello, newly married to Desdemona who is half his age, is appointed leader of a military operation to defend Cyprus from the Turks. Iago, his ensign, passed over for promotion in favour of young Cassio, persuades Othello that Cassio and Desdemona are having an affair.”

I think the first thing I need to mention is that this particular performance was staged in a modern setting, with the soldiers wearing modern soldier costumes and the civilians all sporting some fetching chinos and boat shoes (clearly an attempt at contemporary clothing, however the effect was laughably ‘hipstery’. I expected to see Desdemona tweeting pictures of herself with a Starbucks against the backdrop of a Cyprian warzone at some points, however, this particular scene never materialised). That’s not to say that the staging doesn’t work well. It does. In fact, I think the fact that it works so well demonstrates the ability of Shakespearean texts to stand the test of time, and also the genius mind of Director Nicholas Hytner. The characters seemed perfectly at home in the contemporary setting, and the issues that the text addresses complemented this setting too.

Now, time to discuss the cast, possibly the most important element of a performance. In the particular production I was most excited to see Rory Kinnear, a favourite actor of mine, take on the sinister role of treacherous Iago. I wasn’t disappointed in the slightest. Kinnear’s brilliantly creepy Iago is the best I’ve ever seen. Even when he’s not talking his presence is still felt. As for Adrian Lester, I believe this was a role that he was born to play! He captivates the audience and embodies everything that Othello is! Jonathan Bailey and Lyndsey Marshal are also notable in their roles as Cassio and Emilia respectively!

Of course the production was wonderful, as one would expect of the National Theatre in its 50^th year. I honestly have no real negative points to this production; it was exactly what I hoped for in a production of this fantastic play. Spectacular!