The Threepenny Opera by Bertolt Brecht
"The Threepenny Opera," written by Bertolt Brecht in 1928, is a seminal work that blends elements of drama and operatic music to critique society and its moral values. Set in London's Soho district, the narrative unfolds against a backdrop of crime and social disparity, featuring criminal characters like Mack the Knife and Jonathan Jeremiah Peachum, who leads a network of beggars. The opera explores themes of love, betrayal, and class struggle, with characters navigating a world marked by ethical ambiguity and self-interest.
Brecht employs a unique style that encourages audience reflection, often incorporating songs that comment on the action and highlight social injustices. The relationships between characters, including the tumultuous romance between Mack and Polly Peachum, reveal the complex interplay between personal desires and societal expectations. As the plot progresses, the stark realities of poverty and criminality emerge, leading to a climax that underscores the futility and absurdity of life. Ultimately, "The Threepenny Opera" serves as a powerful commentary on human behavior and the conditions of society, making it a significant work in the canon of modern theatre.
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The Threepenny Opera by Bertolt Brecht
First produced:Die Dreigroschenoper, 1928; first published, 1929 (English translation, 1949)
Type of work: Drama
Type of plot: Social satire
Time of plot: 1837
Locale: London
Principal characters
MacHeath , a master criminalJonathan Jeremiah Peachum , proprietor of the firm “The Beggar’s Friend”Celia Peachum , his wifePolly Peachum , their daughterTiger Brown , the police chief of LondonLucy Brown , his daughterGinny Jenny , the owner of a brothelFilch , an aspiring beggar
The Story:
The criminal elements of London’s Soho district (thieves, beggars, and harlots) ply their various occupations while the balladeer sings about crime increases in the area, because of the reappearance of master criminal Captain James MacHeath (“Mack” or “Mackie the Knife”). The song concludes as Mack strolls down the street, causing occupants to quit their businesses and draw aside.
Jonathan Jeremiah Peachum, as notorious as Mack, heads a beggars’ organization that plays on the sympathies of wealthier citizens. Filch, an aspiring beggar, applies to Peachum for protection and a suitable costume and pays his fee under protest. Mrs. Celia Peachum ages the costume by staining it. Polly Peachum, their daughter, is out with a man she met a few days earlier. When Celia describes the man, Peachum realizes he is Mack the Knife. Celia tries to calm him, and they sing about how young love’s magic sours when the novelty wears off.
Mack escorts Polly to their wedding site, an empty stable that his bumbling henchmen, formally dressed for the wedding, ready for celebration by stealing furniture and even food for the banquet. Unfortunately, the henchmen have no taste and everything is wrong, even the dirge they sing as a wedding hymn to honor the couple. A minister comes to perform the ceremony, and Polly entertains everyone with a song about the revenge of the downtrodden on their social superiors. Mack’s best friend, Tiger Brown, chief of the London police, appears, and after reassuring Mack that his police record is wiped clean, the chief joins Mack in singing about being army buddies.
To her parents, Polly explains her marriage to Mack by saying that a “proper” man is not, necessarily, the “right” man. Peachum’s scolding is interrupted by the beggars, but he decides to bribe Mack’s harlots to turn on Mack. Polly boasts about the relationship between Tiger and Mack, but the Peachums reproach her by singing that “the world is poor and men are bad.”
Polly runs to the stable and warns Mack of plans for his arrest. He agrees to leave town, provided Polly will agree to collect his share from his thieves, send the money to his banker, and then turn the thieves over to the police. She agrees, and the newly arrived thieves swear their allegiance to her. She sings of her heartbreak at losing Mack.
Celia bribes Ginny Jenny to turn in Mack, and they plot his betrayal while singing “The Ballad of Sexual Submissiveness.” Mack hides out in Jenny’s brothel, where Jenny entertains him, and they sing about the days when they lived together. When the police raid the establishment, Mack attempts to escape through the window, but Celia and more police are waiting for him.
In prison, Mack refuses to acknowledge Tiger’s apologies for arresting him. After Tiger leaves, Mack attempts to bribe the jailer, singing about the “luxurious” life. Lucy Brown, Tiger’s daughter, visits Mack to tell him she is pregnant with his child. When Polly arrives, Mack pretends to scorn her so that Lucy will not tell her father about her pregnancy. Polly and Lucy bait each other in “The Jealousy Duet.” After Celia appears and drags Polly away, Mack persuades Lucy to help him escape. Tiger and Peachum discover Mack’s escape, and Peachum blackmails Tiger into rearresting him. Meanwhile, Jenny and Mack sing about how human beings live off one another.
At Peachum’s establishment, while the beggars prepare to work the crowds lining the streets for Queen Victoria’s coronation, Jenny and her girls come by to claim their reward, but Celia refuses to give it until Mack is reincarcerated. Tiger bursts in and attempts to arrest everyone, but Peachum outwits him and sends him to Sulky Tawdry’s to find Mack. Peachum sings about life’s futility, while Jenny sings about life’s absurdities. Polly visits Lucy and they become friendly, with Lucy admitting she is not actually pregnant. Celia brings Polly news of Mack’s impending execution and a widow’s veil.
Back in prison, Mack sings of his despair as he tries to borrow money from his henchmen to bribe his jailer. Polly arrives, but she has no money either. The only salvation for Mack is a queen’s pardon. Tiger comes with Mack’s last meal. Mack pays Tiger the protection money he owes, and all of Mack’s friends enter to say good-bye. There is such a crowd for his execution that no one is attending the coronation. Mack is standing on the gallows when, at the last moment, the queen’s messenger appears with a full pardon, which also gives Mack a castle and a pension. Peachum sermonizes the moral of the piece: “Life was hard, and pardons seldom came.” Everyone sings a reinforcement of the moral.
Bibliography
Brecht, Bertolt. The Threepenny Opera. Translated by Ralph Manheim and John Willett. New York: Arcade, 1995. In addition to an English translation of the play, this edition includes Brecht’s own notes on how the play should be produced, discarded songs, and extensive editorial commentary on the play’s genesis.
Ewen, Frederic. Bertolt Brecht: His Life, His Art, and His Times. New York: Citadel Press, 1967. Exhaustive examination of Brecht’s total oeuvre in chronological sequence. Examines people and theories that influenced Brecht’s work.
Hayman, Ronald. Bertolt Brecht. Totowa, N.J.: Barnes & Noble, 1984. Contains an excellent analysis of major themes and sources for Brecht’s plays.
Morley, Michael. Brecht: A Study. Totowa, N.J.: Rowman & Littlefield, 1977. Contains a complete discussion of The Threepenny Opera, detailing how the play was written and analyzing its themes.
Speirs, Ronald. Bertolt Brecht. New York: St. Martin’s Press, 1987. Contains an analysis of Brecht’s evolution as a playwright and charts the evolution of epic theater.
Thomson, Peter, and Glendyr Sacks, eds. The Cambridge Companion to Brecht. 2d ed. New York: Cambridge University Press, 2006. Collection of essays offering numerous interpretations of Brecht’s work, including examinations of Brecht and cabaret, music, and stage design; his work with the Berliner Ensemble; and key words in his theory and practice of theater. Chapter 5 discusses The Threepenny Opera.
Unwin, Stephen. A Guide to the Plays of Bertolt Brecht. London: Methuen, 2005. Contains analyses of many of Brecht’s plays and discusses his theories of drama, his impact, and his legacy. Designed as an accessible introduction to Brecht for students, teachers, and other readers.