Songs from The Threepenny Opera have been widely covered and become standards, most notably "Die Moritat von Mackie Messer" ("The Ballad of Mack the Knife") and "Seeräuberjenny" ("Pirate Jenny").
In the winter of 1927/28, Elizabeth Hauptmann, Brecht's lover at the time, received a copy of Gay's play from friends in England and, fascinated by the female characters and its critique of the condition of the London poor, began translating it into German. Brecht at first took little interest in her translation project,[citation needed] but in April 1928 he attempted to interest the impresario Ernst Josef Aufricht [de] in a play he was writing called Fleischhacker, which he had, in fact, already promised to another producer. Aufricht was seeking a production to launch his new theatre company at the Theater am Schiffbauerdamm in Berlin, but was not impressed by the sound of Fleischhacker. Brecht immediately proposed a translation of The Beggar's Opera instead, claiming that he himself had been translating it. He delivered Hauptmann's translation to Aufricht, who immediately signed a contract for it.[3]
Brecht's major addition to Hauptmann's text was the addition of four songs by the French poet François Villon. Rather than translate the French himself, he used (uncredited) the translations by K. L. Ammer (Karl Anton Klammer [de]), the same source he had been using since his earliest plays.[3]
The score by Weill uses only one of the melodies which Johann Pepusch wrote for the original Beggar's Opera. The title Die Dreigroschenoper was determined only a week before the opening; it had been previously announced as simply The Beggar's Opera (in English), with the subtitle "Die Luden-Oper" ("The Pimp's Opera").[4]
Writing in 1929, Weill made the political and artistic intents of the work clear:
With the Dreigroschenoper we reach a public which either did not know us at all or thought us incapable of captivating listeners [...] Opera was founded as an aristocratic form of art [...] If the framework of opera is unable to withstand the impact of the age, then this framework must be destroyed....In the Dreigroschenoper, reconstruction was possible insofar as here we had a chance of starting from scratch.[5]
Weill claimed at the time that "music cannot further the action of the play or create its background", but achieves its proper value when it interrupts the action at the right moments."[6]
Weill's score shows influence of jazz and German dance-music of the time.[7] The orchestration involves a small ensemble with a good deal of doubling-up on instruments (in the original performances, for example, some 7 players covered a total of 23 instrumental parts, though modern performances typically use a few more players).[8]
Playbill of the premiere performance at Theater am Schiffbauerdamm Berlin, 31 August 1928. The name of Lotte Lenya, who played Jenny, was omitted by mistake.
The Threepenny Opera was first performed at the Theater am Schiffbauerdamm in 1928 on a set designed by Caspar Neher. Despite an initially poor reception, it became a great success, playing 400 times in the next two years. The performance was a springboard for one of the best known interpreters of Brecht and Weill's work, Lotte Lenya, who was married to Weill. Ironically the production became a great favourite of Berlin's "smart set" – Count Harry Kessler recorded in his diary meeting at the performance an ambassador and a director of the Dresdner Bank (and their wives), and concluded "One simply has to have been there."[9]
Critics did not fail to notice that Brecht had included the four Villon songs translated by Ammer. Brecht responded by saying that he had "a fundamental laxity in questions of literary property."[10]
By 1933, when Weill and Brecht were forced to leave Germany by the Nazi seizure of power, the play had been translated into 18 languages and performed more than 10,000 times on European stages.[11]
In the United Kingdom, the first fully staged performance was given on 9 February 1956, under Berthold Goldschmidt, although there had been a concert performance in 1933, and a semi-staged performance on 28 July 1938. In between, on 8 February 1935 Edward Clark conducted the first British broadcast of the work. It received scathing reviews from Ernest Newman and other critics.[12] But the most savage criticism came from Weill himself, who described it privately as "... the worst performance imaginable … the whole thing was completely misunderstood". But his criticisms seem to have been for the concept of the piece as a Germanised version of The Beggar's Opera, rather than for Clark's conducting of it, of which Weill made no mention.[13][14][15]
America was introduced to the work by the film version of G. W. Pabst, which opened in New York in 1931.[16]
The first American production, adapted into English by Gifford Cochran and Jerrold Krimsky and staged by Francesco von Mendelssohn, featured Robert Chisholm as Macheath. It opened on Broadway at the Empire Theatre, on April 13, 1933, and closed after 12 performances. Mixed reviews praised the music but slammed the production, with the critic Gilbert Gabriel calling it "a dreary enigma".[17]
A French version produced by Gaston Baty and written by Ninon Steinhof and André Mauprey was presented in October 1930 at the Théâtre Montparnasse in Paris. It was rendered as L'Opéra de quat'sous; (quatre sous, or four pennies being the idiomatically equivalent French expression for Threepenny).[18]
In 1930 the work was premiered in Moscow at the Kamerny Theatre, directed by Alexander Tairov. It was the only one of Brecht's works to be performed in Russia during his lifetime. Izvestia disapproved: "It is high time that our theatres ceased playing homage to petit-bourgeois bad taste and instead turned to more relevant themes."[19]
Jenny ("Spelunken-Jenny"/"Low-Dive Jenny"/"Ginny Jenny"), a prostitute once romantically involved with Macheath; is bribed to turn Mack over to the police
Macheath ("Mackie," or "Mack the Knife") marries Polly Peachum. This displeases her father, who controls the beggars of London, and he endeavours to have Macheath hanged. His attempts are hindered by the fact that the Chief of Police, Tiger Brown, is Macheath's old army comrade. Still, Peachum exerts his influence and eventually gets Macheath arrested and sentenced to hang. Macheath escapes this fate via a deus ex machina moments before the execution when, in an unrestrained parody of a happy ending, a messenger from the Queen arrives to pardon Macheath and grant him the title of Baron. The details of the original 1928 text have often been substantially modified in later productions.[22]
A draft narration by Brecht for a concert performance begins: "You are about to hear an opera for beggars. Since this opera was intended to be as splendid as only beggars can imagine, and yet cheap enough for beggars to be able to watch, it is called the Threepenny Opera."[23]
A street singer entertains the crowd with the illustrated murder ballad or Bänkelsang, titled "Die Moritat von Mackie Messer" ("Ballad of Mack the Knife"). As the song concludes, a well-dressed man leaves the crowd and crosses the stage. This is Macheath, alias "Mack the Knife".
The story begins in the shop of Jonathan Jeremiah Peachum, the boss of London's beggars, who outfits and trains the beggars in return for a slice of their takings from begging. In the first scene, the extent of Peachum's iniquity is immediately exposed. Filch, a new beggar, is obliged to bribe his way into the profession and agree to pay over to Peachum 50 percent of whatever he made; the previous day he had been severely beaten up for begging within the area of jurisdiction of Peachum's protection racket.
After finishing with the new man, Peachum becomes aware that his grown daughter Polly did not return home the previous night. Peachum, who sees his daughter as his own private property, concludes that she has become involved with Macheath. This does not suit Peachum at all, and he becomes determined to thwart this relationship and destroy Macheath.
The scene shifts to an empty stable where Macheath himself is preparing to marry Polly once his gang has stolen and brought all the necessary food and furnishings. No vows are exchanged, but Polly is satisfied, and everyone sits down to a banquet. Since none of the gang members can provide fitting entertainment, Polly gets up and sings "Seeräuberjenny", a revenge fantasy in which she is a scullery maid turning pirate queen to order the execution of her bosses and customers. The gang becomes nervous when the Chief of Police, Tiger Brown, arrives, but it's all part of the act; Brown had served with Mack in England's colonial wars and had intervened on numerous occasions to prevent the arrest of Macheath over the years. The old friends duet in the "Kanonen-Song" ("Cannon Song" or "Army Song"). In the next scene, Polly returns home and defiantly announces that she has married Macheath by singing the "Barbarasong" ("Barbara Song"). She stands fast against her parents' anger, but she inadvertently reveals Brown's connections to Macheath which they subsequently use to their advantage.
Polly warns Macheath that her father will try to have him arrested. He is finally convinced that Peachum has enough influence to do it and makes arrangements to leave London, explaining the details of his bandit "business" to Polly so she can manage it in his absence. Before he leaves town, he stops at his favorite brothel, where he sees his ex-lover, Jenny. They sing the "Zuhälterballade" ("Pimp's Ballad", one of the Villon songs translated by Ammer) about their days together, but Macheath doesn't know Mrs Peachum has bribed Jenny to turn him in. Despite Brown's apologies, there's nothing he can do, and Macheath is dragged away to jail. After he sings the "Ballade vom angenehmen Leben" ("Ballad of the Pleasant Life"), another Villon/Ammer song, another girlfriend, Lucy (Brown's daughter) and Polly show up at the same time, setting the stage for a nasty argument that builds to the "Eifersuchtsduett" ("Jealousy Duet"). After Polly leaves, Lucy engineers Macheath's escape. When Mr Peachum finds out, he confronts Brown and threatens him, telling him that he will unleash all of his beggars during Queen Victoria's coronation parade, ruining the ceremony and costing Brown his job.
Jenny comes to the Peachums' shop to demand her money for the betrayal of Macheath, which Mrs Peachum refuses to pay. Jenny reveals that Macheath is at Suky Tawdry's house. When Brown arrives, determined to arrest Peachum and the beggars, he is horrified to learn that the beggars are already in position and only Mr Peachum can stop them. To placate Peachum, Brown's only option is to arrest Macheath and have him executed. In the next scene, Macheath is back in jail and desperately trying to raise a sufficient bribe to get out again, even as the gallows are being assembled.
Soon it becomes clear that neither Polly nor the gang members can, or are willing to, raise any money, and Macheath prepares to die. He laments his fate and poses the 'Marxist' questions: "What's picking a lock compared to buying shares? What's breaking into a bank compared to founding one? What's murdering a man compared to employing one?" (These questions did not appear in the original version of the work, but first appeared in the musical Happy End, another Brecht/Weill/Hauptmann collaboration, in 1929 – they may in fact have been written not by Brecht, but by Hauptmann).[24]
Macheath asks everyone for forgiveness ("Grave Inscription"). Then a sudden and intentionally comical reversal: Peachum announces that in this opera mercy will prevail over justice and that a messenger on horseback will arrive ("Walk to Gallows"); Brown arrives as that messenger and announces that Macheath has been pardoned by the queen and granted a title, a castle and a pension. The cast then sings the Finale, which ends with a plea that wrongdoing not be punished too harshly as life is harsh enough.
11.a Melodram (Melodrama – Macheath)
11a. Polly's Lied (Polly's Song – Polly)
12.a Ballade von der sexuellen Hörigkeit (Ballad of Sexual Dependency – Mrs Peachum)[N 3]
13.a Zuhälterballade (Pimp's Ballad or Tango Ballad – Jenny, Macheath)
14.a Ballade vom angenehmen Leben (Ballad of the Pleasant Life – Macheath)
15.a Eifersuchtsduett (Jealousy Duet – Lucy, Polly)
15b. Arie der Lucy (Aria of Lucy – Lucy)
16.a II. Dreigroschenfinale (Second Threepenny Finale – Macheath, Mrs Peachum, Chorus)[N 4]
17.a Lied von der Unzulänglichkeit menschlichen Strebens (Song of the Insufficiency of Human Struggling – Peachum)
17a. Reminiszenz (Reminiscence)
18.a Salomonsong (Solomon Song – Jenny)
19.a Ruf aus der Gruft (Call from the Grave – Macheath)
20.a Grabschrift (Grave Inscription – Macheath)
20a. Gang zum Galgen (Walk to Gallows – Peachum)
21.a III. Dreigroschenfinale (Third Threepenny Finale – Brown, Mrs Peachum, Peachum, Macheath, Polly, Chorus)
^In the original version, "Pirate Jenny" is sung by Polly during the wedding scene, but is sometimes moved to the second act and given to Jenny. In the 1956 Off-Broadway production starring Lotte Lenya, Polly sang a version of the "Bilbao Song" from Brecht's and Weill's Happy End in the first act wedding scene. Sometimes (e.g. in the 1989 recording) it's sung by Polly in the first act and by Jenny in the second act between song 13 and 14 according to the list above.
^In the Marc Blitzstein adaptation, this song was moved to the second act and sung by Lucy Brown.
^In the 2016 National Theatre, London, adaptation, this song was moved after the Tango Ballad as the finale to act one and sung by Mrs Peachum, Macheath and Chorus.
The ambivalent nature of The Threepenny Opera, derived from an 18th-century ballad opera but conceived in terms of 20th-century musical theatre, has led to discussion as how it can best be characterised. According to critic and musicologist Hans Keller, the work is "the weightiest possible lowbrow opera for highbrows and the most full-blooded highbrow musical for lowbrows".[25]
The Weill authority Stephen Hinton notes that "generic ambiguity is a key to the work’s enduring success", and points out the work's deliberate hybrid status:
For Weill [The Threepenny Opera] was not just ‘the most consistent reaction to [Richard] Wagner’; it also marked a positive step towards an operatic reform. By explicitly and implicitly shunning the more earnest traditions of the opera house, Weill created a mixed form which incorporated spoken theatre and popular musical idioms. Parody of operatic convention – of Romantic lyricism and happy endings – constitutes a central device.[4]
The work's opening and closing lament, "Die Moritat von Mackie Messer", was written just before the Berlin premiere, when actor Harald Paulsen (Macheath) threatened to quit if his character did not receive an introduction; this creative emergency resulted in what would become the work's most popular song, later translated into English by Marc Blitzstein as "Mack the Knife" and now a jazz standard that Louis Armstrong, Bobby Darin, Ella Fitzgerald, Frank Sinatra, Michael Bublé, Robbie Williams, Ray Quinn, and countless others have all covered. In 2015 the Library of Congress added "Mack the Knife" by Louis Armstrong and Bobby Darin to the National Recording Registry.
"Pirate Jenny" is another well-known song from the work, which has since been recorded by Nina Simone, Judy Collins, Tania Tsanaklidou, and Marc Almond, among others. In addition, Steeleye Span recorded it under the alternate title "The Black Freighter". Recently, the drag queen Sasha Velour has made an adaptation by the same name for an installment of One Dollar Drags, an anthology of short films.[26]
After World War II the first theater performance in Berlin was a rough production of The Threepenny Opera at the Theater am Schiffbauerdamm. Wolf Von Eckardt described the 1945 performance where audience members climbed over ruins and passed through a tunnel to reach the open-air auditorium deprived of its ceiling. In addition to the smell of dead bodies trapped beneath the rubble, Eckardt recollects the actors themselves were "haggard, starved, [and] in genuine rags. Many of the actors … had only just been released from concentration camp. They sang not well, but free."[27]
The Pabst film The Threepenny Opera was shown in its French version in 1931. In 1937 there was a production by Aufricht at the Théâtre de l'Étoile which failed, even though Brecht himself had attended rehearsals. The work was not revived in France until after World War II.[18]
National Theatre (Cottesloe Theatre) and UK Tour, February 2003. Translation by Jeremy Sams (lyrics) and Anthony Meech (book), directed by Tim Baker.[32]
At least five Broadway and Off-Broadway revivals have been mounted in New York City.
In 1956, Lotte Lenya won a Tony Award for her role as Jenny, the only time an Off-Broadway performance has been so honored, in Blitzstein's somewhat softened version of The Threepenny Opera, which played Off-Broadway at the Theater de Lys in Greenwich Village for a total of 2,707 performances, beginning with an interrupted 96-performance run in 1954 and resuming in 1955. Blitzstein had translated the work into English, and toned down some of its acerbities. The production featured Scott Merrill as Macheath, Edward Asner (as Mr Peachum), Charlotte Rae (later Jane Connell) as Mrs Peachum, Bea Arthur (as Lucy), Jerry Orbach (as PC Smith, the Street Singer and Mack), John Astin (as Readymoney Matt/Matt of the Mint) and Jerry Stiller (as Crookfinger Jake) as members of the cast during its run.[37]
A 1989 Broadway production, billed as 3 Penny Opera, translated by Michael Feingold, starred Sting as Macheath. Its cast also featured Georgia Brown as Mrs Peachum, Maureen McGovern as Polly, Kim Criswell as Lucy, KT Sullivan as Suky Tawdry and Ethyl Eichelberger as the Street Singer. The production was unsuccessful.[17]
Liberally adapted by playwright Wallace Shawn, the work was brought back to Broadway by the Roundabout Theatre Company at Studio 54 in March 2006[38] with Alan Cumming playing Macheath, Nellie McKay as Polly, Cyndi Lauper as Jenny, Jim Dale as Mr Peachum, Ana Gasteyer as Mrs Peachum, Carlos Leon as Filch, Adam Alexi-Malle as Jacob and Brian Charles Rooney as a male Lucy. Included in the cast were drag performers. The director was Scott Elliott, the choreographer Aszure Barton, and, while not adored by the critics, the production was nominated for the "Best Musical Revival" Tony award. Jim Dale was also Tony-nominated for Best Supporting Actor. The run ended on June 25, 2006.
The Brooklyn Academy of Music presented a production directed by Robert Wilson and featuring the Berliner Ensemble for only a few performances in October 2011. The play was presented in German with English supertitles using the 1976 translation by John Willett. The cast included Stefan Kurt as Macheath, Stefanie Stappenbeck as Polly and Angela Winkler as Jenny. The Village Voice review said the production "turn[ed] Brecht and Weill's middle-class wake-up call into dead entertainment for rich people. His gelid staging and pallid, quasi-abstract recollections of Expressionist-era design suggested that the writers might have been trying to perpetrate an artsified remake of Kander and Ebb's Cabaret.[39]
In 2009, BBC Radio 3 in collaboration with the BBC Philharmonic broadcast a complete radio production of the Michael Feingold translation directed by Nadia Molinari with the music performed by the BBC Philharmonic.[46] The cast included Joseph Millson as Macheath, Elen Rhys as Polly/Whore, Ruth Alexander-Rubin as Mrs Peachum/Whore, Zubin Varla as Mr. Peachum/Rev. Kimball, Rosalie Craig as Lucy/Whore, Ute Gfrerer as Jenny, Conrad Nelson as Tiger Brown and HK Gruber as the Ballad Singer.
The Threepenny Opera, 1954, on Decca Broadway 012–159–463–2. In English. Lyrics by Marc Blitzstein. The 1950s Broadway cast, starring Jo Sullivan (Polly Peachum), Lotte Lenya (Jenny), Charlotte Rae (Mrs Peachum), Scott Merrill (Macheath), Gerald Price (Street Singer), and Martin Wolfson (Peachum). Bea Arthur sings Lucy, normally a small role, here assigned an extra number. Complete recording of the score, without spoken dialogues. Conducted by Samuel Matlowsky.
Reviewing in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau said: "No matter how little use you have for musical theatre—I have very little myself—this score must be the exception. Even in translation (the only way I know them) Brecht's fifty-year-old lyrics retain an ironic fervor that makes tough-minded moderns like Randy Newman or Fagen-Becker sound attenuated and cerebral, and Weill's discordant music carries its own charge."[47]
Die Dreigroschenoper, 1990, on Koch International Classics 37006. Manfred Jung (Macheath), Stephanie Myszak (Polly), Anelia Shoumanova (Jenny), Herrmann Becht (Peachum), Anita Herrmann (Mrs Peachum), Eugene Demerdjiev (Brown), Waldemar Kmentt (Street Singer); Bulgarian Television and Radio Mixed Choir and Symphony Orchestra, Victor C. Symonette
The Threepenny Opera, 1994, on CDJAY 1244. In English. Donmar Warehouse (London) production. Translated by Robert David Macdonald (lyrics translated by Jeremy Sams). Conducted by Gary Yershon. With Sharon Small (Polly Peachum), Tara Hugo (Jenny), Natasha Bain (Lucy Brown), Tom Hollander (Macheath), Simon Dormandy (Tiger Brown), Beverley Klein (Mrs Peachum) and Tom Mannion (Mr Peachum).
^The word "threepenny" refers to a coin in Britain's pre-decimal currency; the work's title in its English-language translation reflects the common pronunciation of that coin ("THREP-penny"). The coin was discontinued in 1971 after the decimalization of sterling.
^Meech, Anthony (2011-01-01). "Brecht's the Threepenny Opera for the National Theatre: A 3p Opera?". In Baines, Roger; Marinetti, Cristina; Perteghella, Manuela (eds.). Staging and Performing Translation. Cultural Criminology. Palgrave Macmillan UK. pp. 126–138. doi:10.1057/9780230294608_8. ISBN978-1-349-31003-6.
Kurt Julian Weill was a German composer, active from the 1920s in his native country, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his best-known work The Threepenny Opera, which included the ballad "Mack the Knife". Weill held the ideal of writing music that served a socially useful purpose. He also wrote several works for the concert hall. He became a United States citizen on August 27, 1943.
The Beggar's Opera
The Beggar's Opera is a ballad opera in three acts written in 1728 by John Gay with music arranged by Johann Christoph Pepusch. It is one of the watershed plays in Augustan drama and is the only example of the once thriving genre of satirical ballad opera to remain popular today. Ballad operas were satiric musical plays that used some of the conventions of opera, but without recitative. The lyrics of the airs in the piece are set to popular broadsheet ballads, opera arias, church hymns and folk tunes of the time.
Lotte Lenya
Lotte Lenya was an Austrian-American singer, diseuse, and actress, long based in the United States. In the German-speaking and classical music world, she is best remembered for her performances of the songs of her first husband, Kurt Weill. In English-language cinema, she was nominated for an Academy Award for her role as a jaded aristocrat in The Roman Spring of Mrs. Stone (1961). She also played the murderous and sadistic Rosa Klebb in the James Bond movie From Russia with Love (1963).
Ballad opera
The ballad opera is a genre of English stage entertainment that originated in the early 18th century, and continued to develop over the following century and later. Like the earlier comédie en vaudeville and the later Singspiel, its distinguishing characteristic is the use of tunes in a popular style with spoken dialogue. These English plays were 'operas' mainly insofar as they satirized the conventions of the imported opera seria. Music critic Peter Gammond describes the ballad opera as "an important step in the emancipation of both the musical stage and the popular song."
A Kurt Weill Cabaret
A Kurt Weill Cabaret was a Broadway and off-Broadway production featuring the music of Kurt Weill. The off-Broadway production, starring Will Holt and Martha Schlamme opened in 1963. In 1979 it was revised and opened at the Bijou Theater on Broadway, with Alvin Epstein and Martha Schlamme and ran for 72 performances.
Happy End (musical)
Happy End is a three-act musical comedy by Kurt Weill, Elisabeth Hauptmann, and Bertolt Brecht which first opened in Berlin at the Theater am Schiffbauerdamm on September 2, 1929. It closed after seven performances. In 1977 it premiered on Broadway, where it ran for 75 performances.
Mack the Knife (1989 film)
Mack the Knife is a 1989 Netherlands romantic comedy musical film written and directed by Menahem Golan and starring Raúl Juliá, Richard Harris, Julia Migenes, Roger Daltrey and Julie Walters. It is a film adaptation of the 1928 Brecht/Weill musical The Threepenny Opera.
LoveMusik
LoveMusik is a musical written by Alfred Uhry, using a selection of music by Kurt Weill. The story explores the romance and lives of Kurt Weill and Lotte Lenya, based on Speak Low : The Letters of Kurt Weill and Lotte Lenya, edited and translated by Lys Symonette & Kim H. Kowalke. Harold Prince had read Speak Low and suggested the idea for a musical to Uhry. Uhry and Prince worked on LoveMusik for four years to develop it into a stage work. The story spans over 25 years, from the first meeting of Lenya and Weill as struggling young artists, to their popularity in Europe and America, to Weill's death from a heart attack at age 50.
The Threepenny Opera (1931 film)
The Threepenny Opera is a 1931 German musical film directed by G. W. Pabst. It was produced by Seymour Nebenzal's Nero-Film for Tonbild-Syndikat AG (Tobis), Berlin and Warner Bros. Pictures GmbH, Berlin. The film is loosely based on the 1928 musical theatre success The Threepenny Opera by Bertolt Brecht and Kurt Weill. As was usual in the early sound film era, Pabst also directed a French language version of the film, L'Opéra de quat'sous, with some variation of plot details. A planned English version was not made. The two existing versions were released by The Criterion Collection on home video.
Captain Macheath
Captain Macheath is a fictional character who appears both in John Gay's The Beggar's Opera (1728), its sequel Polly (1777), and roughly 200 years later in Bertolt Brecht's The Threepenny Opera.
Let No One Deceive You
Let No One Deceive You: Songs of Bertolt Brecht is an album by American folk and blues singer Dave Van Ronk and vocalist Frankie Armstrong, released in 1992. It consists completely of songs by Bertolt Brecht.
20th Century Blues (Marianne Faithfull album)
20th Century Blues is a live 1996 album by British singer-actress Marianne Faithfull, in collaboration with pianist Paul Trueblood.
Threepenny Novel
ThreePenny Novel is a 1934 novel by the German dramatist and poet Bertolt Brecht, first published in Amsterdam by Allert de Lange in 1934 as Dreigroschenroman. It is similar in structure to his more famous The Threepenny Opera and features several of the same characters such as Macheath, together with a general anti-capitalist focus and a didactic technique that is often associated with the dramatist. It is a novel that has been the focus of much critical attention and that is often described as both a continuation and a variation of the themes and motifs of Brecht's other work that focuses on alienation and on the communication of a social message. It can be seen alternatively as a careful development of the detective novel genre and as scathing criticism of the Brecht's own social conditions and the economic practices of German businesses and banks in the middle of the 20th century.
Berlin to Broadway with Kurt Weill
Berlin to Broadway with Kurt Weill is a musical revue with a book by Gene Lerner, music by Kurt Weill, and lyrics by various songwriting partners Weill worked with over his career. The plot follows Weill's life as he begins his career in Germany writing the music for controversial musicals, through his journey fleeing Nazi persecution, immigrating to the United States, and becoming successful on Broadway. Songs featured include those Weill collaborated on with Maxwell Anderson, Marc Blitzstein, Bertolt Brecht, Jacques Deval, Michael Feingold, Ira Gershwin, Paul Green, Langston Hughes, Alan Jay Lerner, Ogden Nash, George Tabori and Arnold Weinstein.
