KABARETT
The
Dalhousie Opera Workshop presents KABARETT from January 31-Feb 3 at the Sir James
Dunn Theatre in Halifax.
Director
Mary Lou Martin makes her Dal
Opera Workshop debut, as she guides us on a journey of social commentary from
both sides of the Atlantic ranging from hilarity to tragedy. Selections from
Weill’s American period and his influence on Bolcom, Britten, Sondheim and
Bernstein are included in this Review showcase. Recently she spoke with AE
about the show.
AE: How did you get
involved with this production?
MLM: I was contacted by
Marcia Swanston who is a voice teacher at the Dal Music Department and the
producer of this show. I was recommended to her by Linda Moore.
AE: What are the challenges
of the piece?
MLM: The Mahagonny Songspiel
is a collectIon of poems by Brecht set to music by Weill. So, although linked
thematically, there is little to hang your hat on in terms of concrete story
line or character development. Luckily I have lots of experience with revue
style shows so am used to dreaming up a context for song cycles. Once I
conjured a scenario and a journey for the actors, then we worked
collaboratively to achieve a cohesive track.
AE: Does Weill still have
an audience?
MLM: I think Weill's work
will always be timely. His early work was very much social commentary and
criticism of the political power structure of his time. Mahagonny was premiered
in 1927. Weill escaped Nazi Germany in 1935. There is a pretty big divide
between his early work in Germany and his work in America. He took easily to
the Broadway style and created 6 shows for Broadway between 1938 and 1947. Most
of these are revived by opera companies more so than traditional musical
theatre producers. His
most enduring piece is Three penny Opera which spins the tale of the outlaw
Macheath aka Mack the Knife and explores the underbelly of society. It was
first done in English in 1954 and is no doubt the most often revived piece. Weill's
influence on musical theatre composers in undeniable, and you can hear it
particularly in Bernstein and Sondheim.
AE: To what do you
attribute his endurance and appeal?
MLM: I think he endures for
both his beautiful melodies and the thumbnail sketches of pre-war Germany he
provides with his early work.
