The Threepenny Opera (1994 London Donmar Warehouse Cast) [Cast Recording]

Kurt Weill (Artist), Bertolt Brecht (Artist), Tom Hollander (Artist), Sharon Small (Artist) | Format: Audio CD

Product Details

• Audio CD (February 18, 1997)
• Number of Discs: 1
• Format: Cast Recording
• Label: Jay Records
• ASIN: B000005BGU
• In-Print Editions: MP3 Download
• Average Customer Review: 4.3 out of 5 stars  See all reviews (22 customer reviews)
• Amazon Best Sellers Rank: #129,887 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

34 of 36 people found the following review helpful:

5.0 out of 5 stars deliciously brecht, September 3, 2000

By 

"lytlprinse" - See all my reviews

This review is from: The Threepenny Opera (1994 London Donmar Warehouse Cast) (Audio CD)

This is a marvelous recording of threepenny opera, moslty due to the wonderful new lyrics - which manage to capture all the grit and vulgarity of the characters that Brecht was trying to capture in the orignal German-language production.

I've read several customer reviews of this recording, and people seem to be missing the point of the show entirely. People are lamenting the loss of the romance and beauty of the show - unfortunatly this show is about murderers, whores and businessmen and is not meant to be a musicalization of a Bronte novel. Brecht was making strong political points with these characters, so strong a point that the show ran until the Nazi's closed it, and manged to destroy most of the prints of (horrible) film-version.

I'm not too familiar with the Blitzstein translation, but what I have heard of it is flat, colourless and boring - sans all the vulgarity of the characters singing the songs. This version (thank god!) uses the "f-word" (among others) to great affect. I actually happened to see an american company do this version. While the modernazation of the peice was pointless (and moslty unnoticable) the production stands up better when we hear "The Life's a Bitch Song" sound like life's a bitch. (In this particular performance there was an improved reference to Monica Lewensky - which, though completely inapproriate, was deliciously funny.)

Also, the Ballad of Mack the Knife (here, "The Flick-Knife Song") has been reassigned to Jenny Diver (at last we hear her last name pronounced correctly) - and it ended the first half. It was DELICIOUS to hear, and the perfect character in the show to sing it, too, who knows Mackie better than Jenny? (Also, this performers voice is amazing in the role, which is a nice change from the strage gutteral and oddly Scottish performance of Polly.)

The lyrics have bite, now, witch matches the score itself. Bad lyrics always aggravate me - and these work.

If you're looking for romance, stick to Phamtom of the Opera. But if you're looking for a great modern treatment of a strong (and very entertaining) pollitical work - then get this recording. Even if you suspect you'll dislike it, and are familiar with other recordings/traslations of the work, its truly interesting to hear the differences in interpretation from version to version.

All in all this is a great version of the show, and true to the vulgarity and humour of Brect's style. And it also includes the best recording of Mack the Knife/Flick-Knife Song, with some attitude - not the jazzed-up lounge version that was latter adapted into a McDonalds ad.

(Its also interesting to note that the score was being played the the actor/dancers in the ensemble. And the "What's the Point Song" has removed the orchestral accompaniment, and replaces instruments, note-for-note, with the esembles voices. This is the same company the debuted the revival of Caberet currently on broadway, so if you're familiar with that revival, you may notice some similarities.)

34 of 37 people found the following review helpful:

5.0 out of 5 stars The Threepenny "Problem", January 20, 1999

By A Customer

This review is from: The Threepenny Opera (1994 London Donmar Warehouse Cast) (Audio CD)

Donmar Warehouse's recording of "The Threepenny Opera" is really the ONLY English-language version of the play that comes close to Brecht's true intensions - to present social comment and criticism in a totally-theatrical, non-illusionistic way. This is the "problem" with most people's understandings of Brecht, and "Threepenny" in particular. When watching Brecht, you should be thinking, "What is Brecht trying to say to us? What is he trying to tell us by showing this story?" You shouldn't empathise with the characters - you should learn something about what they do and how it relates to you. It may sound cold or uncaring or not very dramatically engaging, but that's what Brecht was interested in experimenting with and presenting. (It must be noted, too, that "Threepenny" is an early "experiment" of Brecht's in epic, social theater, and is FAR from being a perfect theatrical experience.)

Audiences who are familiar with the old off-Broadway revival recording will notice that the romance and milieu of the story are gone - romance and milieu were NOT Brecht's goal. These were introduced by shoddy English translations of the original German. The most notorious of these translations is, ironically, the one best known - Eric Bentley's sugar-coated, illusionistic version. The only version truly authorized by Brecht's estate was penned by Mannheim and Willett, whose work can be heard on the Richard Foreman revival recording of the show starring Raul Julia and Ellen Green. Even the original G.W. Pabst film of "Threepenny" missed the point, and was disavowed by Brecht since it fell into the trap of being an illusionistic story - ie. you were supposed to "believe" what was happening and like the characters. The film version of the Foreman revival (sometimes called "Mack the Knife") fell into the same trap (don't rent it - Brecht aside, even as far as musicals go, it is embarrassing.) As for the swearing and foul language, you need look no further than Brecht himself to find it - the original German text is peppered with slang, slurs, and less-than savory language. And regarding the modernization of the piece - I think it actually works, since it is in Brecht's vain. Brecht was always modernizing and reworking classical plays (eg. "The Duchess of Malfi" and "Edward II"), and the original "Threepenny" is really an updated, contemporized, overhauled version of John Gay's "Beggar's Opera" anyway. Brecht was not always as original as some would think - he borrowed, reworked, and even stole ideas from everywhere to work into his own plays.

It was Donmar Warehouse's intention of producing "Threepenny" as Brecht wrote and intended it to be performed. Having studied the play and even directed some of Brecht's other work, I must admit they did a capable job. To people who are first being introduced to Brecht, this is the most authentic way - and the way Brecht intended you to see it. It may not be "pretty," "sweet," or "romantic," but remember - it's not SUPPOSED to be!

In the end, it comes down to this - if you want an old-fashioned musical with romance and a happy ending, watch "Show Boat;" if you want an epic theater that presents important or diverse comments on society, the hierarchical order, love, and duty, check out Brecht and "Threepenny."

17 of 17 people found the following review helpful:

5.0 out of 5 stars The truest Threepenny experience I've ever had, November 5, 2000

By 

"thesnark" (Astoria, NY USA) - See all my reviews

This review is from: The Threepenny Opera (1994 London Donmar Warehouse Cast) (Audio CD)

The Donmar production is to be congratulated-- their Threepenny is a scream from hell. In setting this production in the present/near future, they have driven home the issues even further than the Foreman version does. Mac is no longer an orientalized rogue from the past; he is a cutting edge serial killer and rapist who works in collusion with the police. Jeremy Sams's lyrics capture the spirit of the piece perfectly-- they are harrowing. If you are looking for Brecht in its rawest, most meaningful form, it's on this cd.