John Gay’s The Beggars Opera may be the first ever musical, written almost 300 years ago. Though called an opera, it was actually a satire on opera, set amongst ordinary folk, in stark contrast to opera’s loftier subjects and settings. It’s had many revivals, notably one at the Lyric Hammersmith nearly a century ago that ran for almost 1500 performances, and adaptations, the most famous of which is Brecht & Weill’s The Threepenny Opera. Now Kneehigh have given it a modern setting in our corrupt new world.
The Peachum’s own a pilchard canning business. Mrs Peachum is the power behind the throne and daughter Polly keeps the books. They have a loyal servant, Filch. Mr Peachum hires Macheath to kill the mayor (and his dog!) so that he can take over (via a corrupt election). Much to the Peachum’s horror, Polly falls for, and gets pregnant by, Macheath, who has impregnated quite a few ladies, including Lucy Lockit, the daughter of the police chief (who is also in Peachum’s pay). As Mayor he changes the law so that Macheath can be hung, but things don’t always turn out as planned.
Charles Hazlewood’s new score is a cocktail of many musical styles, from references to Gay’s original to heavy metal and punk! The cast double up as musicians. The setting is a giant metal frame sitting inside the chamber of Shoreditch Town Hall, reminiscent of earlier Kneehigh shows like Don John. It’s good to see some new faces to Kneehigh, particularly Rina Fantina as a terrific Mrs Peachum, the ever wonderful Beverley Rudd as Lucy Lockit and Jack Shaloo as an excellent Filch, jailer and prostitute (very versatile!).
It was inventive and contained many of the Kneehigh trademarks. I thought the first half could do with a bit of tightening, and maybe editing, but overall it was Kneehigh back on form, doing what only they can do.
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