“Beggar’s Opera ”

Sun (Auckland), Volume II, Issue 554, 5 January 1929, Page 20

“Beggar’s Opera ”

Gay’s Light Fantasy Staged in Berlin One wonders what John Gay’s emotions would be if he could gaze upon the version of his “The Beggar’s Opera,” which Is being played at the Theater-am-Schiffbauerdamm (writes a theatrical critic from Berlin). Mixed might describe them. But, having seated himself in his favourite tavern before his favourite brand of ale, he would, after the first moments of annoyance, come around to acquiescence, perhaps even to enthusiasm. For Bert Brecht (the adap ar), Kurt Weil (the composer), and Erich Engel (the director)) have achieved that miracle of miracles —they have drawn the circle of perfection around an evening in the theatre. No longer is it the light fantasy, the gay flitting burlesque of the English original. Although Brecht is one of the few authors of the younger generation who has humour, it is of a heavier, earthier sort. The spectres of Kant and Marx loom somewhere dimly on the horizon. Here, however, they were sufficiently nebulous to leave the comedy unclouded. The “social background” is suggested, but in a fashion that allows you to take it or leave it at will. It was three hours of joy undiluted. The plot, in large lines, remains the same, except for the ending. Gay’s highwayman hero went gladly to the gallows in order to escape the numerous females who laid claim to his affections. Here a burlesque on an opera finale was substituted. To melodramatic music, the sheriff announces that the king has signed a last-minute pardon. Macheath removes the noose from his neck, and joins the whole cast in a chorus of rejoicing. It was undoubtedly one amusing way of rounding off the evening.

And the contributions of director and composer were on an equal level with that of the adapter. Engel, with the aid of the designer, Caspar Neher. set his stage in shabby irregularity A burlap curtain extended only halfway to the proscenium, and left free the stucco horizon, on which lantern slides were cast. And how he juggled his players! There was, for instance, the engaging roughness of Harald Paulsen as Macheath, the egotistical cynicism of Erich Ponto as Peaehum, the fragile- sensuality of Roma Bahn as Polly, the lusty vulgarity of Rosa Valetti as Mrs. Peaehum.