Podcasts about macheath

Who would have thought that a song from a 1928 music drama about MacHeath, a cold-blooded, knife-wielding criminal from London's underworld, would go on to become a huge hit. Yet,… The post Concrete Shoes first appeared on Broken Door Ministries. The post Concrete Shoes appeared first on Broken Door Ministries.

Olivier winner George Maguire is currently starring as Bob Cratchit and Jacob Marley in the European premiere of Dolly Parton's Smoky Mountain Christmas Carol at the Southbank Centre's Queen Elizabeth Hall.Some of George's early theatre credits include: Stu in Tonight's The Night, Angel in Rent, Joe Vegas in Fame, Marc Bolan in 20th Century Boy, Berger in Hair and Busker in Lift.George won the 2015 Olivier Award for Best Supporting Actor in a Musical for originating the role of Dave Davies in the West End production of Sunny Afternoon (Hampstead Theatre/Harold Pinter Theatre). He went on to play Macheath in The Busker's Opera (Park Theatre), Orsino/Malvolio in Twelfth Night (Bridge House Theatre), Alan Dangle in One Man Two Guvnors (New Wosley/Nuffield Theatres) and the title role in The Wicker Husband (Watermill Theatre).Most recently George played Buck Barrow in Bonnie & Clyde, firstly in the musical's concert alongside Jeremy Jordan at the Theatre Royal Drury Lane and then again in the show's fully staged run at the Arts Theatre. Dolly Parton's Smoky Mountain Christmas Carol runs at the Southbank Centre's Queen Elizabeth Hall 8th December 2022 - 8 January 2023. Visit www.smokymountainchristmascarol.com for info and tickets. Hosted by Andrew Tomlins. @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Die „Dreigroschenoper“ von Kurt Weill und Bertholt Brecht hatte gestern in der Wiener Volksoper Premiere. Sona McDonald in der Rolle des Macheath hatte schon in der letzten Woche für Aufregung gesorgt. Unser Opernexperte Richard Schmitz war gestern dabei. Die „Dreigroschenoper“ war schon im 18. Jahrhundert als „Beggars Opera“ ein Protest gegen den routinierten Opernbetrieb. Das brachte 1728 und 1928 fulminante Erfolge, weil das Neue auch Anregung für den Repertoirebetrieb brachte. Für die gestrige Realisierung verhieß die Besetzung des machohaften Macheath einen neuen Gedankensprung. Das Prinzip des Rollentausches zieht sich durch die gesamte Inszenierung, doch leider nicht konsequent. Den hemmungslosen Macho, dem die Gefühle seiner vielen Bräute gleichgültig sind, mit einer Frau zu besetzen hätte Reiz. Auch dass die Spelunkenjenny mit einem Mann besetzt ist, wäre noch akzeptabel. Da wären aber auch Polly und Lucy mit Männern zu besetzen gewesen. So ist Sona McDonald heillos überfordert; sie kann weder den selbstbewussten Mann noch den skrupellosen Verbrecher glaubhaft machen. Hoffentlich sehen wir diese wunderbare Sängerin bald in einer, ihr gemäßen Rolle. Johanna Arrouas als Polly und Julia Koci als Lucy machen aus dem Eifersuchtsstreit einen Höhepunkt des Abends. Rührend die Kinderstimme, die am Beginn die Moritat vom Haifisch singen darf. Mrs. Peacham hat auch in der Firma Peacham das Sagen; Ursula Pfitzner nützt diese Gelegenheit weidlich. Die männlichen Protagonisten Carsten Süss als Jonathan Peacham und Marco di Sapia als Tiger-Brown sind all ihrer Gefährlichkeit beraubt und bleiben daher blass. Auch Oliver Liebl als Spelunkenjenny hat wenig zu melden. Die Regie von Maurice Lenhard macht aus der hochpolitischen Antioper eine gefällige Revueproduktion. Dazu tragen auch die protzigen Kostüme von Christina Geiger bei, die keinerlei vertiefenden Rollenbezug haben. Nicht einmal die Bettler sind als solche zu erkennen. Das nichtssagende Bühnenbild schafft nur im kleinbürgerlichen Puff einigermaßen Atmosphäre. Leider liefert Carlo Goldstein am Pult keine Unterstützung für die durchwegs respektabel singenden Protagonisten. Da fehlt das Gespür für die zündenden Melodien von Kurt Weill. Die zahlreichen Wortpointen von Bertholt Brecht gehen ebenfalls unter. Da man den Text der vielen Schlager kennt, konnte man die Leistung der teilweise fulminanten Sänger würdigen. Es ist kein Zufall, dass alle wichtigen Einspielungen dieses Werkes mit singenden Schauspielern aufgenommen wurden. Die Chance eines der wichtigsten Werke der Zwischenkriegszeit neu zu interpretieren wurde leider vertan. Das Publikum verließ noch während des Schlussapplauses den Zuschauerraum. Nicht einmal Buhrufer hatte man engagiert. Es wär so schön gewesen, doch so plätscherte der kurze Applaus ohne Protest durchs Haus. Meine Schlussnote von 6,3/10 Punkten enthält vor allem die Würdigung der allseits geschätzten Sänger.

“Zuerst kommt das Fressen, dann die Moral” verkündete der Räuber Macheath in der Dreigroschenoper – dieser Satz lässt sich auch einmal auf ganz ungewöhnliche Weise interpretieren: im Leben von Bertolt Brecht und seiner Frau Helene Weigel entdeckt man Essenslust und Gaumenfreuden, Gastlichkeit und Geselligkeit.

Para que existiera Pedro Navaja, primero tuvo que existir la ópera, el jazz y un delincuente con estilo llamado Capitán Macheath. Esta es la historia de una salsa cuya inspiración recorrió más de doscientos años. Versión escrita en leonbernardino.com/pedro

Back in those days you didn't shoot nobody unless they really needed shootin'.So when someone showed you a gun, you knew there was a reason. You didn't always know what that reason was, so the polite thing to do was ask. “What's with the hog leg?” “Keeps folks from takin' the cash box.” “I just want a watermelon. You sellin'? Or just sittin' here showin' em off?” The truck was a 1950 International Harvester that had been ugly since the day it was born and the boy was a 1955 Hatfield with a homemade haircut that wasn't gonna win no prizes, either. He looked to be about eleven. “We're sellin'. Seventy-five cents.” I dropped three quarters into the slot in his tackle box and heard the slosh of a hundred others when he slid it under the truck seat where he'd been sleeping. “Take your pick,” he said. “You choose.” “They're equal good.” I flipped him another quarter and he dropped it in his pocket. Barefoot, he clambered to the top of the pile and reached to a spot behind the cab. It was worth the extra quarter. “Truck not runnin'?” “We always sell a few after dark and this is a good spot. Didn't want to give it up.” “Your daddy's smart.” “Don't have a daddy.” “Granddaddy, then.” “Don't have to be smart to stay parked in a good spot. Just common sense.” “He's smart for teaching you how to flash that hog leg without pointin' it.” “Illegal to point it.” “I know. And your granddaddy's smart for makin' sure you know.” He held it out to me on an open palm. “Walker Colt. Belonged to my granddaddy's daddy.” I looked at it and nodded, “Nice one,” but I didn't touch it. My granddaddy taught me, too. I said, “Want some watermelon?” “Whatcha thinkin'?” “Sell me one for 35 cents and I'll split it with you.” “Eat it here?” I nodded. He reached into his pocket and with a quick flick of his wrist produced a slender, 7-inch blade. “This time you choose,” he said. Two minutes later I laid my fingertip on a melon and made eye contact. He smiled. “You picked a good one. What's your name?” “Roy.” “I'm Mack.” He quartered the melon and then with a barely perceptible motion folded the blade against his hip and slipped the knife back into his pocket. The hand became an open palm. “You owe me 35 cents.” I dropped a dime and a quarter into it. We both sat on the tailgate and began eating melon. “I'm named after my granddaddy. You named after your granddaddy, Mack?” He laid his hand on the knife in his pocket as he shook his head slowly from side to side. “After my daddy.” Mack changed the subject. “You don't look old enough to drive,” he said. I smiled, “The police think I do.” “You fifteen?” he asked. I nodded. I let the subject of his daddy lay for a few minutes as we ate the heart of the melon in silence. When we were done eatin' and I had put my 75-cent melon in the passenger-side floorboard, Mack said, “Your mama didn't raise no fools, Roy.” “Why do you say?” “Most people put the melon in the seat. Then when they hit the brakes, the melon rolls into the floorboard and busts.” “How do you know?” Mack smiled, “'cause they always come back and buy another melon.” I started the car, put it in reverse, and started to sing softly, “Oh, the shark, babe, has such teeth, dear. And it shows them pearly white.” I heard Mack's voice in the darkness, “Just a jackknife has old MacHeath, babe. And he keeps it, out of sight.” I turned on the headlights but Mack was already lying down in the seat of the truck again, falling asleep with his great granddaddy's hog leg pistol and the knife his daddy left him. Roy H. Williams

Diese Zeilen eröffnen Die Moritat von Mackie Messer, getextet von Berthold Brecht und zunächst vertont von Kurt Weil für Die Dreigroschenoper von 1928. Und genau wie das Lied um seinen titelgebenden Gauner, das bis heute unzählige Male gecovert und neuinterpretiert wurde, ist auch der Haifisch immernoch ein oft verwendetes Motiv für Wiederholungen. Er zeigt zwar im Film noch nicht ganz so lang seine Zähne, wie Macheath sein Messer versteckt, 40 Jahre sind es aber nun trotzdem schon, seit dem er die Leinwand unsicher macht.

Diese Zeilen eröffnen Die Moritat von Mackie Messer, getextet von Berthold Brecht und zunächst vertont von Kurt Weil für Die Dreigroschenoper von 1928. Und genau wie das Lied um seinen titelgebenden Gauner, das bis heute unzählige Male gecovert und neuinterpretiert wurde, ist auch der Haifisch immernoch ein oft verwendetes Motiv für Wiederholungen. Er zeigt zwar im Film noch nicht ganz so lang seine Zähne, wie Macheath sein Messer versteckt, 40 Jahre sind es aber nun trotzdem schon, seit dem er die Leinwand unsicher macht.

The Mayor of London, Sadiq Khan, looks ahead to Sunday when he's transforming Trafalgar Square into 'London's biggest cinema' for a free public screening of Iranian director Asghar Farhadi's Oscar-nominated film The Salesman, just hours before this year's Academy Awards are announced. Jake Arnott discusses his latest novel The Fatal Tree set in Georgian London's criminal underworld. It follows the fortunes of notorious prostitute and pickpocket Edgworth Bess and her husband Jack Sheppard, a thief whose escapades inspired the character of Macheath in John Gay's The Beggar's Opera.Next week the Guildhall School will put on the world premiere of Julian Philips' opera The Tale of Januarie. Based on Chaucer's The Merchant's Tale, it's the first opera to have been written in Middle English. The librettist Stephen Plaice and composer Julian Philips join John to discuss how they approached it.Presenter: John Wilson Producer: Edwina Pitman.

The Threepenny Opera — Bertolt Brecht’s 1928 “play with music — is like an expensive desert that’s so complex and filled with flavor most people can’t quite figure out how to enjoy it. That’s how Brecht liked it. A proponent of what he called “Epic Theater,” Brecht was not interested in entertaining his audiences or allowing them to become lost in the emotions of a story. He wanted his audiences to stay a bit uncomfortable, to remain just distant enough from their feelings —and from the show they are watching — to always be thinking about how the play is being presented, what it all actually means. Therefore, I’d say that for most people, the only significant obstacle in 6th Street’s thoroughly effective and often delightful production of Threepenny Opera is that in the end, it’s still The Threepenny Opera. Staged in the larger G.K. Hardt theater, it a fascinating choice for 6th Street, where its main-stage musicals have tended, of late, toward the safe and predictable. Directed by Michael R.J, Campbell, Threepenny features thrilling singing voices, excellent musical direction by Janis Dunson Wilson, frequently brilliant staging, cooler-than-cool visual stylings, and whimsically Brechtian touches. The set, essentially a large room filled with props and costumes, resembles a theater hoarder’s paradise, and I loved those chalk-drawn signs some characters hold up from time to time, and that well-lit proscenium over the stage, chalked over with the scrawled titles of all the songs, constantly reminding us that this is, after all, just a play with music. The music, by the way, is by Kurt Weill, and includes some of his best known songs. The story is set in London in 1937, and plays like a Victorian-version of the Rocky Horror Show. It’s gleefully sexy and aberrant, and joyously contemptuous of those too sensitive and proper to sit and watch a dark, twisted, tune-filled show about the seedy underbelly of society. Ironically, the musical—based on John Gay’s 1728 “The Beggar’s Opera”—is actually (if you pay attention) all about Europe’s wealthy class of bankers and businessman, who too-often behave like crooks and murderers. Though in Threepenny Opera, we get crooks and murderers behaving like bankers and businessmen. The show’s best-known song (“The Ballad of Mack the Knife”), is presented in a gothy prelude by an accordion-playing street-singer (a first-rate Shawna Eierman), after which the plot-heavy story introduces Mr. and Mrs. Peachum (Robert Rogers & Eileen Morris, both excellent). The Peachums oversee a network of robbers and thugs, rivaled only by the vicious gang of the knife-wielding Macheath (a wonderful Jerry Lee, singing beautifully while looking like a cross between Charlie Chaplin and Gomez Addams). When Mack secretly marries the Peachum’s daughter Polly (Molly Larsen, adding yet another excellent voice to the cast), things get complicated. It seem Mack has more than one wife, and a girlfriend or two on the side. One of them, the prostitute Jenny, played powerfully by Seran Elize Flores, reluctantly collaborates with the Peachums to have Mack arrested, his eventual fate illuminated, literally, the noose hanging over the stage, occasionally lit by a spot so we don’t forget its there. The twisty tale is deliberately hard to follow (Brecht trikes again), but for venturous audiences willing to take their tea with a bit of arsenic, this energetic romp of an anti-capitalist fable is served up with enough style to keep you smiling, even as it sends you out of the theater thinking hard, and perhaps just a little unsettled. 'Threepenny Opera’ runs Thursday–Sunday through October 23 at 6th Street Playhouse. www.6thstreetplayhouse.com

Whit Stillman takes on an early Jane Austen epistolary novella, Love and Friendship; a film full of wicked women and gullible men Cornelia Parker's asked 60 artists to submit items to an exhibition of found objects at London's Foundling Museum. The man who revived Doctor Who for the BBC -Russell T Davis - turns his attentions to an all-star version TV of Midsummer Night's Dream Simon Armitage has translated another Middle English poem; Pearl. It's the tale of a man addressing a daughter who died as an infant and returns as a bride of Christ Rory Kinnear plays Macheath in the National Theatre's production of Brecht and Weill's The Threepenny Opera Tom Sutcliffe's guests are John Tusa, Kamila Shamsie and Nihal. The producer is Oliver Jones.

Russell T Davies first encountered A Midsummer Night's Dream as an 11 year old cast in the role of Bottom. Now the man who relaunched Dr Who and who has been described as the saviour of British television drama, discusses his desire to make his own production of Shakespeare's most exuberant play for TV with Kirsty Lang.Jane Austen is back on the big screen - this time based on her novella Lady Susan and adapted on film as Love and Friendship, starring Kate Beckinsale. The scheming Lady Susan Vernon dedicates herself to a hunt for a husband both for herself and her daughter Frederica, with implacable determination. Viv Groskop reviews.Rufus Norris, the artistic director of the National Theatre in London, talks about his new production of The Threepenny Opera. With a new translation by Simon Stephens, who also adapted The Curious Incident of the Dog in the Night-Time, it stars Rory Kinnear as the amoral, antiheroic criminal Macheath, and Haydn Gwynne as the vengeful Mrs Peachum.On the eve of the 25th anniversary since the release of Ridley Scott's road movie Thelma & Louise - starring Susan Sarandon and Geena Davis - the novelist, game designer and self-professed feminist, Naomi Alderman celebrates the cult classic. Presenter : Kirsty Lang Producer : Dymphna Flynn.

The Brecht/Weill song, 'Mack The Knife' first appeared in 'The Threepenny Opera' in Berlin in 1928. Sung about the criminal MacHeath, the 'play with music' is based on John Gay's 'The Beggar's Opera', who was inspired by the real-life English highwayman, Jack Sheppard. The song became a hit when performed in 1959 by Bobby Darin. Ella Fitzgerald famously forgot the words when performing live in Berlin in 1960 and her improvised version won a Grammy. Suzi Quatro talks about how she performed it with her father as a child, playing bongos to accompany him, and Lenny Kaye from the Patti Smith Group recalls how he and Patti did a version of 'Mack The Knife' at their first ever performance together at St Marks Church in New York on 10th February 1971, as it was Brecht's birthday. Film-maker Malcolm Clark tells the story of the song's first public performer, Kurt Gerron, an actor and director, who took the song into the darkest places of the Third Reich.

Broadway's current Macheath, Alan Cumming, talks about the political relevance of "The Threepenny Opera" in America today, chronicles his experiences after drama school as part of a comedy duo in Scotland, recalls the development of his Tony-winning role as the Master of Ceremonies in "Cabaret", first in London and later in the U.S., and considers what may be next in his creative career. Original air date - May 5, 2006.

Broadway's current Macheath, Alan Cumming, talks about the political relevance of "The Threepenny Opera" in America today, chronicles his experiences after drama school as part of a comedy duo in Scotland, recalls the development of his Tony-winning role as the Master of Ceremonies in "Cabaret", first in London and later in the U.S., and considers what may be next in his creative career. Original air date - May 5, 2006.

Broadway's current Macheath, Alan Cumming, talks about the political relevance of "The Threepenny Opera" in America today, chronicles his experiences after drama school as part of a comedy duo in Scotland, recalls the development of his Tony-winning role as the Master of Ceremonies in "Cabaret", first in London and later in the U.S., and considers what may be next in his creative career. Original air date - May 5, 2006.

Paul Jones first made his name as the lead singer with the group Manfred Mann. Later, he formed the Blues Band, but in the meantime he had started a second career as an actor when he appeared in the film Privilege. Since then, he has played Hamlet, Cassio in Othello and Macheath in The Beggar's Opera, and he even finds time to do session work on his harmonica. In conversation with Roy Plomley, he talks about the many facets of his career and chooses the eight records he would take to the mythical island. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Libiamo Ne'Lieti Calici by Giuseppe Verdi Book: Political works and music criticism by George Bernard Shaw Luxury: Harmonica

Paul Jones first made his name as the lead singer with the group Manfred Mann. Later, he formed the Blues Band, but in the meantime he had started a second career as an actor when he appeared in the film Privilege. Since then, he has played Hamlet, Cassio in Othello and Macheath in The Beggar's Opera, and he even finds time to do session work on his harmonica.In conversation with Roy Plomley, he talks about the many facets of his career and chooses the eight records he would take to the mythical island.[Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Libiamo Ne'Lieti Calici by Giuseppe Verdi Book: Political works and music criticism by George Bernard Shaw Luxury: Harmonica