Synopsis
Programme
Impressions/Performances
This motleyed, and somewhat muddled production is part play, part traditional opera, and part modern day opera. Musically, some at least of the traditional tunes and arias are still there but, in a bizarre twist, much of the rest is put to music borrowed, pistols drawn, from such contemporary hits as "I am sailing" (Rod Stewart), "I fought the Law" (Sonny Curtis / The Clash and others), "You're so vain" (Carly Simon) and "500 Miles" (The Proclaimers).
With a few picked audience members invited to sit on the stage and occasional interactions between the cast and the audience at large, this production, stylistically, has much more the feel of street theatre than your accustomed indoor stage fare. As such, although it works reasonably well, it does feel more than a little out of place in that setting. And muddled it is too. A lot is crammed into the run time and, between the play and the play within the play, it's never quite clear where the main dramatic focus is supposed to lie - and since the 'outer' story so closely mirrors the 'inner' it is often difficult to keep track of which one we are watching at any particular point in time!
The ten strong Anglo-Australian cast take to their parts enthusiastically making this a very much 'in your face' type of production, as well as deftly doubling-up as instrumentalists during the songs. And there are some fine voices among the cast which really lift the show on a musical level. Australian Juan Jackson sings in a strong, rich baritone and is superbly charismatic as the dashingly mysterious Macheath - as well as revealing a well-toned and muscular body when he stripped off his shirt at the end. Ali McGregor brings an equally stunning voice to Polly Peachum's laments to provide some of the finest musical moments and between them these two bring some of the finest musical moments to the show. The voluptuous Amelia Cormack, who plays Lucy Lockit, adds sex appeal and bawdy comedy to the mix as well as another fine singing voice in delivering her own numbers.
Overall, this is the kind of production that tends to polarise an audience. It was not at all what I expected, and on the night there were some walkouts in the first half and, in what had been a full house, a conspicuous numbers of seats not retaken in the second. And yet there was an unreservedly rousing ovation at the end from those who had remained. Like 'Marmite' (or should I say 'Vegemite' given the Australian connection) it appears that for many people this production is something you will either love or hate. Personally, I started out more in sympathy with the latter, but once I got over the initial 'culture shock' of it's unusual style and content I began increasingly to warm to it. And whilst never quite making it to be a fully paid-up card-carrying member of the lovers fraternity, I enjoyed it well enough in the end.
Verdict
An unusual and inventive production delivered by an enthusiastic and energetic cast. Not for all tastes, but an enjoyable enough piece of hokum for those prepared to ignore it's obvious shortcomings.