Theo’s ‘Threepenny Opera’ gleams like an old dirty penny, as it should

L to R: Michael Meija, Tyler DeLoatch, Peter Stielstra, Carl Herzog, Isabel Garcia, Luiza Vitucci. Photo by Time Stops Photography.

Something old, something new, something borrowed, something… hideously charming—that something arrives at Theo Ubique with The Threepenny Opera, Bertolt Brecht and Kurt Weill’s sleazy oddball classic. The material may be dusty, but the social commentary remains pertinent, and the tongue-in-cheek depravity meshes well with our modern cynicism surrounding class warfare and social unrest. (A full down-and-dirty on the piece may be found here.)

Director Fred Anzevino doubles down on Theo’s trademark raw, up-close-and-personal staging, and together with scenic designer Mara Ishihara Zinky creates a creepy cabaret ambiance, complete with onstage seats. Music director and pianist Ryan Brewster is a juggernaut performer with an astute ear. Barreling through Weill’s score with unyielding precision, Brewster also demonstrates his sense of dynamics as a vocal director. The ensemble is tightly locked to the grit, beauty, and character of the score.

However, the closeness of the staging and vulnerability of a one-man-band at the piano expose the age of the material. Without flashy bells and whistles nor orchestral thrills—decadent and capitalistic as they may be—there is little to distract from the chore of countless chaotic reversals and overly conspicuous character commentary. Brecht, as ever, circumvents concision in the name of making a larger point—which is to say, patience is often the unavoidable admission fee for the perusal of historic theatrical works.

Carl Herzog is a perfectly piliferous, delightfully devious Macheath, he of the knife. Herzog's crooning is a tuneful cherry on top in demonstrating his aptitude for the role.

As Macheath's partner in crime, Michael Mejia creates a compellingly sensitive Tiger Brown. While gruff, Mejia's portrayal of the role betrays a deep love for Macheath, unexpressed in the official capacities of the character's life.

Chamaya Moody’s Polly Peachum is at once demure and commanding. Her sonorous soprano is a delicate facade for the power she shows beneath.

A finer ensemble of decrepit cretins can ne’er be found in Isabel Garcia, Grant Carriker, Tyler DeLoatch, Luiza Vitucci and Peter Stielstra. Each brings a level of personality and development that energizes every scene.

While Brecht may have written with longer attention spans in mind, this production is intentional and specific with each moment, pulling the show along through compelling character work and sheer roguish charm. If that ain’t worth your twopence…

The Threepenny Opera runs through April 30th at Theo Ubique Cabaret Theatre, 721 Howard St, Evanston, IL. For tickets or more information, please click here.

For more reviews on these or other shows, please visit theatreinchicago.com.