On Oct. 2, Theatre South Carolina returns with its own sharp take on “The Threepenny Opera.” Directed by Steven Pearson, the tale follows the trials and tribulations of “Mack the Knife,” a notorious gangster, as he struggles to gain stability in a capitalist system while simultaneously eluding the police and female suitors. Witty and highly relevant, the must-see show runs from Oct. 2 to Oct. 10 at the Longstreet Theatre.
Written by Bertolt Brecht and Kurt Weill, “The Threepenny Opera” is an adaption of John Gay’s “The Beggar's Opera.” First performed on Aug. 31, 1928, in Berlin, Germany, Brecht and Weill’s work became infamous for its seemingly indecent, salacious and satirical commentary.
In 18th-century Victorian London, “The Threepenny Opera” details the life of ladies' man and criminal, Macheath, or “Mack the Knife.” The life of this anti-hero descends following his wedding to Polly Peachum, daughter of businessman and friend of beggars, Jonathan Peachum. As a result for his general disdain for “Mack the Knife,” Mr. Peachum, embodying hypocrisy, exhausts himself in attempting to have Macheath captured and punished by hanging. The plot follows the power struggle between Macheath and Mr. Peachum and offers an insightful commentary on the issue of corruption in capitalism. Intertwined with love triangles and jealousy, “The Threepenny Opera” lives up to its reputation, offering its audience with countless relatable and classic themes throughout the show.
Josh Jeffers, a University of South Carolina graduate student, contributes impressive vocals to the show starring as the notorious "Mack the Knife." When prompted on the topic of relevance, Jeffers praised the importance and timeliness of Brecht’s work.
“I think this show is so relevant with what is happening right now, as far as the 2016 presidential campaign,” Jeffers said. “It seems like we keep hearing about the widening gap between the rich and the poor and this opera definitely plays into that.”
In a generation that has a reputation for prioritizing technology over the arts, concepts such as "Netflix and chill" have only solidified the importance of preserving classic works of art such as Brecht’s “The Threepenny Opera.”
Director Steven Pearson, a professor in the Department of Theatre and Dance and head of the Masters of Fine Arts Acting Program, is no stranger to Brecht. Having directed and acted in other adaptations of his work, Pearson shared his beliefs on the importance of theater, and specifically Brecht’s opera, in relation to college students.
“Being in a group, and having to think about social and political things while at the same time being entertained is something that we need. In addition to being connected digitally, we need to have some connection that is not digital and there are fewer and fewer places today where we can do that,” Pearson said.
With the presidential election just around the corner, "The Threepenny Opera’s” flirtation with political and social ideologies makes the show that much more worth attending. Though seemingly foreign and intimidating at first, Brecht and Weill will inspire you with a childlike nostalgia and love of theater.
“It's funny, it's entertaining, but it's also socially and politically active in a very engaging way," Pearson said.