tag:blogger.com,1999:blog-12657288.post114583396756599270..comments2024-01-07T06:59:04.212-05:00Comments on The Playgoer: REVIEW: Threepenny OperaPlaygoerhttp://www.blogger.com/profile/02994724588504353485noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-12657288.post-1158615038405316312006-09-18T17:30:00.000-04:002006-09-18T17:30:00.000-04:00To write, in a paranthetical aside at that, "who c...To write, in a paranthetical aside at that, "who cares if there's no Brechtian "Streetsinger"," suggests that you, like Ben Brantley, understand zip about Brecht, Weill or this play. Brantley's largely negative review betrays as much patronizing ignorance re: brecht and brechtianism (a particularly ghastly coinage) as does your condescendingly positive notice. If you want to watch a smart director, intelligent actors, and a stupendous orchestrator completely reimagine (not just revive) a text, see SWEENEY TODD. Director John Doyle knows more about Brecht than these review writers, the cast, crew and director of THREEPENNY combined.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-12657288.post-1150302965406058242006-06-14T12:36:00.000-04:002006-06-14T12:36:00.000-04:00I won't respond point for point to the previous co...I won't respond point for point to the previous counter-review, since I see the validity in much of what's said. I would just like to try to clarify two points of mine where I've admittedly left myself open to attack.<BR/><BR/>First, obviously one can't just say a production of Threepenny "gets the politics wrong BUT..." There is not "but" when it comes to Brecht. And I say that as a proud Brechtian myself.... Still, having said that and giving it an "F" for politics, as a lover of theatre I did find value in appreciating Elliott's work here on its terms, in exploring its own political/social/sexual politics agenda. It seemed a fresh rethinking, even if with this gaping whole at the center.<BR/><BR/>Second, I certainly did not mean to imply that this production is underappreciated because it's too edgy nor that its many critics just don't "get it." While I've often accused Broadway of neglecting work too out there, that's not the case here. (And ticket sales seem to suggest just the opposite.) Most of the critiques I've read I feel have great validity. I agree, for instance, about the pacing and the flat jokes--another offense to Brecht. Both Elliott and Shawn seem to approach them as one-liners, which Brecht didn't write.<BR/><BR/>For what it's worth, I also think it's such a distinctive production that will provide fodder for Brecht production historians for years to come!<BR/><BR/>So, without at all apologizing or eating my words, I fully fess up to mine being a "minority report" hopefully to be considered alongside the pans as just a different perspective.Playgoerhttps://www.blogger.com/profile/02994724588504353485noreply@blogger.comtag:blogger.com,1999:blog-12657288.post-1150236738543446362006-06-13T18:12:00.000-04:002006-06-13T18:12:00.000-04:00I'm young (mid twenties) and I hated the show.1) I...I'm young (mid twenties) and I hated the show.<BR/><BR/>1) It's poorly paced (this to me is Scott Eliott's main weakness as a director, and has been a recurring problem in every single one of his shows I've seen). Moments drag on too long for no reason, jokes don't lad because they're badly timed. Cindi Lauper takes 5 minutes to react to every line spoken before she speaks. I don't really think it has a pulse, Playgoer, I think it limps towards its conclusion.<BR/><BR/>2) Taking the class issues out of Threepenny is rather like taking the love out of Romeo and Juliet or the family dynamics out of Hamlet. It's not just a thing about the show. It is the fundamental backbone *of* the show. I think adding in the queer identity stuff could be really good if it was worked into an interpretation of the play that... um... understood it. In other words... if Threepenny has no class critique... what does it have? What do you create after stripping that out? In this case, the production team seemed determined to create something... well... cool and hip. That's hardly a replacement for the meaning taken out.<BR/><BR/>3) The play uses its politics to cheaply justify its crappy aesthetic by confusing dislike of the production with dislike of the production's themes. I didn't applaud the gay marriage lines not because I don't support gay marriage (I do. vehemently.) but rather because it felt like a cheap way to applaud a poorly done scene.<BR/><BR/>4) It's two best metatheatrical moments are stolen from better shows. The "rafts" that bring the characters on and off stage are stolen from the Mnouchkine show at Lincoln Center last summer and the English/German subtitled bit is ripped off of that bastion of edgy theater, "Thoroughly Modern Millie"<BR/><BR/>5) Alan Cumming's performance is intense... and wrong... it seems to have nothing to do with MacHeath at all, really, and everything to do with the MC from Cabaret, with the exception of that Tango song, which is quite nice.<BR/><BR/>6) I like the neon sign conceit, and I liked the kick line without music that went on just a little too long. If the rest of the play had had the clearness of vision and edge of those two things, the play would've been great. As it is its a muddled, muddy bore. And Jim Dale is a genius.<BR/><BR/>7) In other words, I don't think this play suffers from risk taking and o'erweening ambition. I think it suffers from shlocky cheap, poorly thought out decisions that don't work and a cast that has trouble making sense of those decisions.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-12657288.post-1150230579025700312006-06-13T16:29:00.000-04:002006-06-13T16:29:00.000-04:00We saw Threepenny Opera when we were in NY earlier...We saw Threepenny Opera when we were in NY earlier this month and mostly liked it. True, it wasn't a "traditional" performance, but can't a revival involve trying new things? I even liked the sets, which most of the reviewers criticized, so I won't attempt any more of a review than this, except to say that I did remark to my husband as we were leaving the theater that Threepenny with the politics left in wouldn't appeal to the crowd in attendance. <BR/><BR/>(I have, however, finally gotten hold of a copy of MNiRC and have read through it once. I think my worst fears have been confirmed, but will read through it again before commenting.)<BR/><BR/>A couple of observations: our theater excursion was the only time we saw people as old as we are. (At one dinner, the other people were so much younger than I am -- and I'm only 51 -- that I thought we were the chaparones.)<BR/><BR/>And second, the reason for this most likely revolves around the ticket prices. I don't know many young people -- at least those without trust funds -- who have the money to pay those kinds of prices more than a couple of times a year.PeonInChiefhttps://www.blogger.com/profile/17611581585285022906noreply@blogger.comtag:blogger.com,1999:blog-12657288.post-1150037022824820422006-06-11T10:43:00.000-04:002006-06-11T10:43:00.000-04:00interesting review, playgoer. you've convinced me...interesting review, playgoer. you've convinced me to give the show a look. (i previously had not intention of going.) <BR/><BR/>please keep reviewing as well. i look forward to more of your takes on things.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-12657288.post-1149999879582436082006-06-11T00:24:00.000-04:002006-06-11T00:24:00.000-04:00oh, sorry - one more thing... Lucy is not a drag q...oh, sorry - one more thing... Lucy is not a drag queen - he is a transvestite (more a pre-op transsexual)... he is dramatic and humorous - but the point of making Lucy male was to introduce themes of homophobia, gay marriage, etc.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-12657288.post-1149999762805163532006-06-11T00:22:00.000-04:002006-06-11T00:22:00.000-04:00Hi,nice thoughtful review... interesting :)I am no...Hi,<BR/><BR/>nice thoughtful review... interesting :)<BR/><BR/>I am not a countertenor though - the range and tone I sing those songs in is too high for a countertenor... I am a sopranista - or male soprano - who sings tenor (a darker tenor) but can also sing up through the soprano range... in what is believed to be the range and tone of the castrati :)<BR/><BR/>I am just pretty sensitive about that... it's like calling a Tenor a Baritone... a countertenor is like a mezzo soprano... a Sopranista is like a soprano... the songs might not sound too high, but that is because they sit in my range comfortably... <BR/><BR/>anyway, interesting thoughts :)<BR/><BR/>-Brian Charles RooneyAnonymousnoreply@blogger.com