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Pretty teeth and jack knives
Natasha Lewis (Lucy), Milton Lopes (Macheath) and Cici Howells (Polly) Pictures: Patrick BaldwinThe Threepenny Opera
Birmingham Rep
**** IT’S FITTING in these days of austerity
and benefit cuts that this reworking of the tale of criminals and
beggars by Birmingham Rep in association with the Graeae Theatre Company
serves to imagine how those with special needs are often still seen by
many today. Directed by Peter Rowe and Jenny Sealy they have
neatly coordinated the needs of several disabled performers alongside
able-bodied players in a way that maybe traditionalists may have issues
with, but here elevates the tale into a cross over between musical
theatre, opera and street performance. It’s chaotic at times and even the narrator John
Kelly apologises for the potential technical issues we might see in
either the surtitles or projected graphics but even that The story if you didn’t know it, centres on the
devious criminal, Mack the knife and his fall from riches to the
gallows, aided and abetted by his partners and enemies in crime in
Victorian London. Milton Lopes as Macheath at times lacks the sheer
evil depth of his character but is pretty enough to convince us that he
might be a ladies man. CiCi Howells plays Polly and has plenty of
opportunity, as others do, to showcase her range of skills either with
her great singing voice, playing a range of woodwind instruments or just
adding a touch `rock chick ‘ glamour to the company. Holding the maturity of the company together from
his wheelchair is Garry Robson as JJ Peachum who conjures up the essence
of a controlling Fagin type in a way that even Ray Winston would be
impressed with.
Directing the many other actor musicians on stage
is Joey Hickman and every transition by them from character to costume
change, to entrance, back to speech or musical performance of the
ensemble was fluid and seamless. There are some issues though in that whist it is
great to see some of the otherwise off stage workings, there is a little
too much exposure of everyone concerned at times. This can be a little
distracting from the main action but understandably it is not an easy
fix with graphics, titles, signing, and an on stage band all in view,
all of the time. One of the most solid performances for me was by
Amelia Cavallo as Jenny. She has a powerful musical theatre voice and
although had a cane during some of her several solo parts, showed no
other signs that her sight is impaired. In the end it’s that quality that was most
impressive from the disabled performers in the company as the stage is
packed with so much talent that they effectively made their disabilities
invisible. Even signer Jude Mahon blends into the setting as
integral part of the staging with a graceful interpretation of the
songs. It would be easy to pile praise on to this
company simply because they have to deal with so much in bringing this
kind of production to fruition. However with some assistance and the
talent of more able bodied actors, alongside some very creative staging
ideas, they prove without a doubt that theatre really is for everyone.To
12-04-14 Jeff Grant The Threepenny Opera is a Birmingham Repertory Theatre production and has been co-produced with Graeae Theatre Company, New Wolsey Theatre Ipswich, Nottingham Playhouse and West Yorkshire Playhouse
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sets a mischievous tone from the outset. Considering what obstacles need
to be overcome to bring many of the cast to this level of
professionalism it is a stunningly coordinated and well realised piece
of theatre.