BOOK REVIEW
THE THREE-PENNY OPERA, BERTOLT BRECHT, ARCADE PUBLISHING, 1928
I have reviewed some of the master Communist playwright Bertolt Brecht’s later more consciously political and didactic plays elsewhere in this space. The play under review is an earlier work, before he fully committed himself to communism, and is an adaptation of John Gay’s 18th century Beggar’s Opera to the modern theater. The subject at hand is a look at the way those in the lower depths of society survive under emergent capitalist conditions, especially the main character, one MacHealth a.k.a. Mac the Knife. As such Brecht’s adaptation has given no end of problems for those critics who want to claim it for the communist cause. It is far too universal in it sentiment about human nature in the capitalist era and therefore properly is a transitional to his later more consciously partisan works like The Measures Taken and The Mother. Thus one should take it for is own worth as a look at survival in a seemingly Hobbesian world.
The plot line is rather simply-MacHealth, a former British imperial soldier, has struck out on his own in dog-eat-dog 18th century London and has created a name for himself as a master criminal and seducer of the ladies. Other forces including the constabulary, a small disreputable but conniving businessman and, let us be politically correct here, some 'sexual workers' combine in an attempt to deprive Mac of life and limb. However luck and a royal coronation combine to thwart those best laid plans. All of this is performed in a light operatic format that allows Brecht to wax poetic at humanity’s plight through a series of sharply-etched songs in which he collaborated with the legendary Kurt Weill.
Above I referred to some controversy about Brecht’s intention in this work. That the roguish, incipient capitalist MacHealth is saved in the end through royal intervention has caused some commentators to argue for the organic connection between the rising capitalist class and the monarchy in England. Others have noted the similarities in appetite between the lumpenproletariat element as represented by MacHealth and his criminal crew and the developing capitalism of the time. I think that both views overdraw what one can take out of Gay’s story or Brecht’s adaptation. This story line is much more conducive to a generalized treatment on the nature of survival in a world that has broken from its agrarian past and has not yet stabilized into bourgeois norms of propriety. Some of these same characteristics were played out in the development of American capitalism, especially in the Wild West. But as presented here this is only a rudimentary outline of where things could go. I stand by my comment in the first paragraph about the unmediated nature of Brecht’s take on Gay’s little work. He most definitely got more focused on the nature of the human plight under capitalism latter as he developed as a Marxist.
THE THREE-PENNY OPERA, BERTOLT BRECHT, ARCADE PUBLISHING, 1928
I have reviewed some of the master Communist playwright Bertolt Brecht’s later more consciously political and didactic plays elsewhere in this space. The play under review is an earlier work, before he fully committed himself to communism, and is an adaptation of John Gay’s 18th century Beggar’s Opera to the modern theater. The subject at hand is a look at the way those in the lower depths of society survive under emergent capitalist conditions, especially the main character, one MacHealth a.k.a. Mac the Knife. As such Brecht’s adaptation has given no end of problems for those critics who want to claim it for the communist cause. It is far too universal in it sentiment about human nature in the capitalist era and therefore properly is a transitional to his later more consciously partisan works like The Measures Taken and The Mother. Thus one should take it for is own worth as a look at survival in a seemingly Hobbesian world.
The plot line is rather simply-MacHealth, a former British imperial soldier, has struck out on his own in dog-eat-dog 18th century London and has created a name for himself as a master criminal and seducer of the ladies. Other forces including the constabulary, a small disreputable but conniving businessman and, let us be politically correct here, some 'sexual workers' combine in an attempt to deprive Mac of life and limb. However luck and a royal coronation combine to thwart those best laid plans. All of this is performed in a light operatic format that allows Brecht to wax poetic at humanity’s plight through a series of sharply-etched songs in which he collaborated with the legendary Kurt Weill.
Above I referred to some controversy about Brecht’s intention in this work. That the roguish, incipient capitalist MacHealth is saved in the end through royal intervention has caused some commentators to argue for the organic connection between the rising capitalist class and the monarchy in England. Others have noted the similarities in appetite between the lumpenproletariat element as represented by MacHealth and his criminal crew and the developing capitalism of the time. I think that both views overdraw what one can take out of Gay’s story or Brecht’s adaptation. This story line is much more conducive to a generalized treatment on the nature of survival in a world that has broken from its agrarian past and has not yet stabilized into bourgeois norms of propriety. Some of these same characteristics were played out in the development of American capitalism, especially in the Wild West. But as presented here this is only a rudimentary outline of where things could go. I stand by my comment in the first paragraph about the unmediated nature of Brecht’s take on Gay’s little work. He most definitely got more focused on the nature of the human plight under capitalism latter as he developed as a Marxist.
