The Threepenny Opera - NT (Filthy Language/Immoral Behavior)

When I saw it there were awkward laughs - it felt unwise as 'shall we bother with Act 2?' was in a lot of people's chats at the interval I think.

Interestingly I was at Rory Kinnear's platform today and he referred to Friday's performance as having a very unusual energy because of the mood of the audience. He described the early Act 2 moment as being "semi-improvised" and he did it slightly differently every night. On Friday Rufus said to him earlier in the day "go for it tonight" and so he did.... So yes, you did see something specific...

Someone asked if a recording or script would be made available but he wasn't sure, it was above his pay grade.

He also commented that the production changed very much during the preview run, to the extent that after the first four or five previews they changed the ending considerably, back to the original ending from one that was somewhat different. You'll have to listen to the podcast for the details, as for some reason I can't get spoiler text to work on my iPad. In any case, it was an interesting indicator of how much things can change from first preview to press night...

Similar sentiments in tweet from Simon Stephens today:

Enjoyed this a lot and the second half opening certainly resonated with the audience. All in all I found the second half very topical . I really liked both lead and ensemble performances. A fruitful night at the theatre

Not sure if it has been posted, but The Threepenny Opera has now extended a month to October 1!

theatreboard.co.uk/thread/777/threepenny-filthy-language-immoral-behavior?page=8

Ahh, The Threepenny Opera!

Many moons (over Soho) ago I directed The Threepenny Opera. Julie Covington introduced me to it –not in person, but I’d bought one of her albums after I’d become intrigued by this boyish woman… Evita (I wonder if Elaine Paige ever sent her flowers and a thank-you card for turning down the role?) then ITV’s Rock Follies and then her single, Only Women Bleed. Anyway, her album- played and replayed until the record was completely scratched- featured Barbara’s Song [sic]. Someone called Bertolt Brecht and Kurt Weill were credited, so I went to a library…

The decision to do it was made without a second thought. A band was drawn up from a handful of fellow students who could play something (funny how there’s always an Environmental Scientist who plays the violin, a History of Artist who goes out with a drummer) and fellow students, Drama and otherwise, made up the cast. I felt that Bertie and Kurtie would have been rather pleased with the way I‘d gathered my little company together.

I remember causing a rumpus asking for the stage curtains to be removed. Yes, even the frilly bit at the top. I wanted the stage lights exposed. I wanted the Exit sign at the back of the stage left. I wanted microphones visible. So that was the set sorted. The cast sat around on the floor at the back of the stage, playing cards and drinking until they played their scene. Oh I was in the zone all right! My coup de design was to dress all three of Mackie’s girls exactly the same but in different colours. I was mighty proud of myself; I had created the definitive version.

And then my father gave his review: ”Well that was typical of you. All running up and down the walls and screaming their heads off!”

I suppose that more or less summed it up. I was back down to earth.

It’s not done that often, is it? Not here… I caught the Donmar version mid-nineties, which I enjoyed but I can’t remember much about it other than it featured Tom Hollander. Little fellow, Long hair. Long mac. And Google has recently informed me that Sharon Small was Polly. And in the National version she turned up once again, but as Jenny.

So, off to the National, having read the rather mixed reviews, and having been impressed by the production photographs, which- to me- captured the tone of the piece.

First impressions good- Mr Norris had removed the stage curtains (even the frilly bit at the top) and I could see the lighting rig. And there was a painter’s ladder. I couldn’t remember any painters in it but it was a long time ago. I can sometimes get things wrong… I could have asked him (Mr Norris) as he was sitting two rows behind me, but he was busy with a friend, muttering and pointing at the stage. Possibly explaining the relevance of the painter’s ladder…

They all walked on in silence. Fantastic little band, reminiscent ever so slightly of the Kit Kat Klub, led by the lovely David Shubsole. Bang on, with the exception of the Tango, which I would have preferred with a bit more punch.

Fabulous cast. Mostly. Rosalie Craig can be my new Jenna Russell… Now there’s no denying Rory Kinnear can act, but I’m afraid I agree with the majority- he seemed uncomfortable in the role, which made me wonder if he knew he wasn’t right.

I’d forgotten how the story is both silly and yet twisted. I don’t remember the violent scenes. And the references to Mack and Tiger’s (completely unconvincing) relationship, and Mr Peachum’s (completely unnecessary) taste for ladies’ clothing (I swear the last time I saw that particular wig at the National was in Absolute Hell…) must have gone over my head all those years back. Or perhaps they weren’t in the text but someone thought they were a good idea… Perhaps I should have spoken to Mr Norris after all.

I found the “free translation” altogether puerile. Trying to shock, yet none of us were. (We all came back for more after the interval on my night.) Poor Haydn Gwynn. I bet she’s never had to sing so many cocks in one song.

Overall the production was all a bit tick the box inclusive for me.

But I did like it. It got some things right- some of the set visuals were stunning, and I loved Nick Holder barking “Scene change!” at us at end of the Act One Finale, even though the scene didn’t quite change while we waited for a technical hitch to be overcome. So he barked it again. Louder. Loved Haydn Gwynn’s “Interval!” It certainly made a welcome respite from her saying cock. But overall the production tried too hard, I think.
As another poster put it: It was all a bit bonkers. All “running up and down the walls and screaming their heads off!” Perhaps I wasn’t far off the mark all those years ago; perhaps Mr Norris is still not getting it quite right. Who knows?

And I never did get the relevance of the painter’s ladders.

If you're in London, you may as well just see it at the NT with the £15 tickets - chances are it'll be about the same price for tickets in the cinema!

Great new trailer has been made for it:

How do you get the £15 tickets?

I don't live in London and make limited trips, so if I have a free slot I'm much more likely to see something that I can't see in my local cinema.

Agree about the pricing though - my local Odeon charges an outrageous £17.50 !

In addition to the trailer, the platform with Rory Kinnear has also been uploaded

Oh I was in the front row and I saw absolutely nothing wrong with his legs.