Crime, affairs, and corruption thrive in the back alleys of 1928 London—and in the Tower Players’ production of “The Threepenny Opera.”
Directed by Theatre Department Chairman James Brandon, “The Threepenny Opera” is based on an English play, “The Beggar’s Opera,” written in 1728. The show follows the illegal dealings of Macheath, played by junior Mathieu Weisner, as he attempts to steal from, sleep with, and rule over the lowlifes of London.
The musical begins in the Peachum’s, played by sophomores AJ Palubinskas and Emiliya Smyk, family business, where they clothe and train beggars in order to make money off of the sympathetic. The story takes an immediate turn when the couple discovers their daughter, Polly Peachum, played by junior Olivia Kroh, is planning to marry Macheath. Twisting through the streets and jails of London, “The Threepenny Opera” shows the audience the reality of a corrupt, individualistic community. With critiques on capitalism and reminders that “money rules the world,” the musical presents a thought-provoking outlook on modern society.
“It’s not the easiest Hillsdale show, and that’s purposeful. We’re not some indoctrination camp or a glorified community theater,” Brandon said. “We’re an educational theater and I think some of what we do is shows that are difficult or that make us think, and that’s what we should be doing at a college theater.”
On the surface, the show appears to simply follow the detestable life and actions of greasy gangsters, poor prostitutes, corrupt cops, and brash beggars. Yet the incomplete sets and intriguing lyrics point the audience to ideological questions that go beyond the comical characters.
Brandon described the purpose of the musical in his Dramaturg’s Note in the production’s program, explaining how writer Bertolt Brecht doesn’t give us an easy answer to any of the questions he poses.
“The play’s outlook on the state of the world seems very negative,” Brandon wrote. “Brecht offers us more questions than answers, more calls to action than reassurance in our own virtue. Many of the men and women onstage are far from laudable. What compels us to listen?”
Senior Shannon Petersen also remarked on the performance of putting on a show with darker, mature themes at Hillsdale. Citing the cursing, alcohol, and romantic scenes, Petersen explained there’s not a readily available moral message to extract from the production. Yet, this show still presents an opportunity to experience another side of the Hillsdale campus and support those who spent the last two months working on it, he said.
“This is something that’s great about Hillsdale. When you take any of the religion or politics classes and you have a firm belief, these classes challenge you to strengthen and defend those beliefs,” Petersen said. “Some of the things that might raise some eyebrows are good things that I think are intentionally thought-provoking. I think that it’s good to have that at Hillsdale.”
From the actors to the musicians to the stage managers and lighting directors, the Tower Players production involves over 45 Hillsdale students. The set achieves a steampunk, Victorian era look, with individual bricks acting to its character. Palubinskas explained that 70% of the production comes from the set and costume design, so the shop workers put in long hours to create the backbone for a production.
With jazz-inspired music to match the costumes and sets, “The Threepenny Opera” is suited for the actor and singer, not simply those with choral expertise. Featuring many solos and duets, the music helps to lighten the plays’ otherwise ominous messages.
“I’m very happy with the casting of the show and am thrilled with how the students are preparing the vocals,” professor of music James Holleman said. “The pit orchestra instrumentation is also a good fit for many of our music students that have not had the opportunity to play for a musical in the past.”
The musical has performances at 7:30 p.m. tonight through Saturday and 2:30 p.m. on Sunday in Markel Auditorium.
