The Threepenny Opera

FEBRUARY 5 - 14, 7:30 PM | TIMMS CENTRE FOR THE ARTS PREVIEW FEBRUARY 4, 7:30 PM | MATINEE FEBRUARY 12, 12:30 PM

FEATURING BFA ACTING CLASS OF 2015

BY BERTOLT BRECHT | MUSIC BY KURT WEILL LIBRETTO TRANSLATION BY MARC BLITZSTEIN Director Brian Deedrick | Conductor & Musical Director Peter Dala Sets & Lighting Design Robert Shannon | Costume Design Robyn Ayles Sound Design Brian Maxwell | Choreography Marie Nychka

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CAST: Macheath, Weimar Thug.............................................................................................. Hunter Cardinal Bob, Betty, Constable, Blind Beggar..................................................................................................................Lily Climenhaga Street Singer, Casualty Beggar, Mack’s Girl, Constable................................................................................................ Natalie Davidson Mrs. Peachum.................................................................................................................. Bobbi Godard Jenny, Mack’s Gang, Beggar, Weimar Actor.................................................................. Nikki Hulowski Smith, Matt, Lame Beggar, Weimar Thug........................................................................... Neil Kuefler Tiger Brown, Constable, Mac’s Gang........................................................... Maxwell Theodore Lebeuf Polly, Mac’s Girl, Beggar ..................................................................................................... Kabriel Lilly Filch, Jake, Victoria’s Messenger, Constable................................................................... Dylan Parsons Mr. Peachum, Constable, Weimar Thug..................................................................................Joe Perry Street Singer, Walt, Molly, Constable................................................................................ Zvonimir Rac Rev. Kimball, Dunc, Dick, Constable, Nervous Twitcher..................................................... Mark Vetsch Lucy, Mack’s Gang, Coaxer, Beggar.............................................................................Morgan Yamada CREATIVE TEAM: Director ......................................................................................................................... Brian Deedrick Music Director....................................................................................................................... Peter Dala Set, Lighting and Projections Designer........................................................................ Robert Shannon Costume Designer.............................................................................................................. Robyn Ayles Sound Designer .............................................................................................................. Brian Maxwell Choreographer.................................................................................................................Marie Nychka Assistant Director/Fight Choreographer............................................................................. Neil Kuefler Dramaturg........................................................................................................................ Piet Defraeye Rehearsal Pianist............................................................................................................Leanne Regehr Dance Captain................................................................................................................. Dylan Parsons Vocal Coach ........................................................................................................................... David Ley Assistant Set Designer ............................................................................................ Zsofia Opra-Szabo Assistant Costume Designer......................................................................................... Camille Maltais Assistant Lighting Designer ........................................................................................Cheyenne Sykes MUSICIANS: Conductor............................................................................................................................. Peter Dala Piano / Harmonium / Celesta.........................................................................................Leanne Regehr Clarinet / Alto Saxophone......................................................................................................Dan Davis Clarinet / Tenor Saxophone ....................................................................................Dominique Shulhan Trumpet ................................................................................................................... Russell Whitehead Trumpet ............................................................................................................................ Doug Berner Trombone ........................................................................................................................Alden Lowrey Percussion ........................................................................................................................ Court Laslop Guitar / Banjo / Hawaiian Guitar ..................................................................................... Robert Walsh Amateur Performance Rights – Rogers and Hammerstein Theatricals

CONTENTS

• 4 Production Team • 6 Director’s Notes • 8 Dramaturgical Notes • 19 Administrative Staff • 22 Studio Mandate • 23 Donors 3

PRODUCTION STAGE MANAGEMENT: Stage Manager Assistant Stage Managers

Julie Ferguson Mona Jiang Kasia Brytan

ADVISORS Design Advisor Robert Shannon Stage Management Advisor John Raymond

PRODUCTION TEAM Production Manager Technical Director Assistant Technical Director Production Administrative Assistant Wardrobe Manager Cutter Wardrobe Assistant Stitcher Costume Breakdown / Dyer Hair Practicum Students

Head Scenic Carpenter Scenic Carpenter Head Painter Scenic Painters

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Gerry van Hezewyk Larry Clark Troy Jensen Jessica Parr Joanna Johnston Julie Davie Karen Kucher Geri Dittrich Kathleen Mulder Hyperion Hair Corp.

Kate Quinn-Feehan Camille Maltais Darrell Cooksey Ivan Siemens Kirby Likness Stephanie Bahniuk Chris Chelich Julianna Labots Camille Maltais Rhys Martin Noriko Marumo Cheyenne Sykes Alison Yanota

Properties Master Lead Props Builder Props Builder

Jane Kline Mattia Poulin Jacinda Maxwell

Lighting Supervisor Head of Lighting

Jeff Osterlin Chris Chelich

PRODUCTION (CONT.) Lighting Technicians

Stephanie Bahniuk Matthew Koyata Julianna Labots Camille Maltais Rhys Martin Jacinda Maxwell Mattia Poulin Cheyenne Sykes Tiana Tolley Alison Yanota

Projection Supervisor

Elijah Lindenberger

Sound Supervisor Head of Sound Audio Technician

Matthew Skopyk Rhys Martin Allison Robinson

RUNNING CREW Lighting/Projection Operator Sound Operator Microphone Technician Lead Stage Crew Stage Crew

Chris Chelich Rhys Martin Allison Robinson Rachael Alexandre Noriko Marumo Johnnie Samycia Tegan Siganski

PRODUCTION ACKNOWLEDGEMENTS Brian Deedrick (‘85 MFA Directing, ‘79 BA Drama) is our 2015 Mary Mooney Distinguished Visiting Artis, Color de Vino and Bella Vista, Citadel Theatre, Edmonton Opera The production of The Threepenny Opera has been generously funded and supported by: The Alberta Foundation for the Arts and The Shaw Cable Distinguished Visiting Artists’ Endowment Fund which annually supports one or more Mary Mooney Distinguished Visiting Artists within the U of A Department of Drama, recognizing the late Dr. Mary Mooney, who played an integral role in promoting theatre in Edmonton.

U of A Studio Theatre gratefully acknowledges the following for their assistance: Woodward Design (poster design) Herb Ratsch, Art Design Printing Inc. Color de Vino and Bella Vista Citadel Theatre Edmonton Opera Special thanks to Nico Van Der Kley and the Victoria School for the Arts 5

DIRECTOR’S NOTES

by Brian Deedrick

BRIAN DEEDRICK, 2015 MARY MOONEY DISTINGUISHED VISITING ARTIST A proud graduate of this very department, Brian’s most recent directing project for Studio Theatre was a much-cherished production of Nicholas Nickelby exactly four years ago this week.

As a freelance opera and theatre director, his work takes him all over Canada and the United States, with occasional forays as far afield as Casalmaggiore, Italy and Tel Aviv.

W

eimar Berlin. Die Goldenen Zwanziger…The Golden Twenties.

An explosion of music, theatre and culture in Berlin like the world has never seen. Brecht is writing his plays, Weill his music, the Dada poets have arrived from Switzerland, cinematic masterpieces like Metropolis, Sunrise, Nosferatu, and The Blue Angel are filling Berlin movie palaces, the paintings of George Grosz and Otto Dix are both shocking and thrilling the German public, and the party will surely never come to an end.

It is the best of times, and it is the worst of times.

Hyperinflation. A loaf of bread costs hundreds of thousands of Reichmarks one day, perhaps millions the next. Rampant unemployment, political turmoil, one government after another topples and falls, and the Berliner, desperate for some kind of control over their lives, resort to whatever measures necessary to eke out a living.

A group of actors come together to tell a story.

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During his years as Artistic Director of Edmonton Opera, some of his favorite productions there included Fidelio, Otello, Julius Caesar, Falstaff, Weill in Weimar, The Emperor of Atlantis, The Abduction from the Seraglio, and South Pacific.

Selected freelance opera credits have included Turandot and Aïda for Fort Worth Opera, Don Giovanni for Austin Lyric Opera, Otello and La Bohème for L’Opera de Québec, Eugene Onegin and Tosca for Opera Carolina, The Flying Dutchman for Baltimore Opera, L’Elisir d’amore and The Pearl Fishers for Arizona Opera, and The Merry Widow and Don Pasquale in Honolulu.

Mr. Deedrick’s upcoming projects include Mefistofele for Knoxville Opera, Lucia di Lammermoor for Edmonton Opera, Dead Man Walking for Opera Nuova, and Aïda for Austin Lyric Opera. When not directing, Brian works as a city tour guide in Berlin… no, really!

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DRAMATURGICAL NOTES

by Dr. Piet Defraeye

BERTOLT BRECHT Born in 1898, on the cusp of the 19th century, Bertolt Brecht was decidedly a theatre maker for and of the 20th century, as he became one of its defining authors and directors. Brecht grew up in Augsburg, a busy, mercantile town in Bavaria, an hour’s journey by train west of Munich.

The middle class family he grew up in is a typical product of what was known as Germany’s Neue Sachlickheit, or New Objectivity that permeated the Weimar republic in private as well as public life, the world of business, as well as the world of art, the world of industry and architecture, as well as daily household objects.

His Lutheran mother insists on Brecht’s familiarity with the Bible, which turns out to become a major literary influence on his writing. While Brecht’s relationship with his mother can hardly be called emotionally close, he struggles with her long-term fight with cancer. She dies in 1921, Brecht has just turned 23, and that same night, Brecht gives a wild party on the 2nd floor of the family home in the Bleichstrasse in downtown Augsburg. It is not out of disrespect, but clearly as an awkward channeling of his emotions. In a famous poem he later writes – “Song about My Mother” – these emotions come to the surface: ”Oh, why do we not say that which is important, it would have been/So easy and yet we will be damned because of it.” He concludes the poem with typical Brechtian affect: “She cannot be dug out again with the fingernails.”

His relationship with his father, Berthold Friedrich Brecht, is more of the sachliches

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kind, both being quite autocratic. He is the manager in a local paper factory, and is well off, often supporting his two sons financially. His brother Walter follows his father’s footsteps, and became a highly skilled technical scientist in paper technology. Bertolt Brecht himself has a magnetic personality, for men and women alike, and a striking physical appearance.

Count Kessler, the legendary patron of the arts, writes after meeting the 30-year old Brecht at a party: “decadent head, almost a classical criminal physiognomy, very dark, black hair, black eyes, dark skin, a singularly threatening facial expression, almost the typical thug.”

Bertolt Brecht lives through two world wars – but never has to face the front (unlike his first-born son Frank, who perishes at the Russian front in 1943). While most young men his age were drafted during WWI, he manages to defer this call on the basis of his weak health (rheumatic fever, which plagues him his entire life), and faking his father’s signature, as well as by registering for medical studies at the university of Munich (which he gives up rather swiftly in 1919). Still, both world wars have left huge impressions on his work, most consistently in his early poetry that responds to the fate of some of his closest friends, including the famous designer-director Caspar Neher, who spent his young adulthood in the horror of trenches of the Somme and the Alsace. The theme of war is most noticeably present in his play Mother Courage (1939/41), but informs just about his entire oeuvre, including several songs in Threepenny Opera.

DRAMATURGICAL NOTES (CONT.)

by Dr. Piet Defraeye

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War and politics also have an immediate impact on his restless journey through Germany, Europe and N. America. There are strong sympathies with the communist opposition in Weimar Germany, and the well organized unions on the left. When the NSDAP wins the elections in 1933 as the largest political party, Hitler becomes Chancellor in early 1933. The Reichstag, Germany’s parliament, is burned down a month later, on February 27th. The next day, after a night of rounding up communist party members by the Nazi regime, Brecht and his wife, Helene Weigel, and their nine-year-old son Stefan make it to Prague by train. From thereon, their 16-year long nomadic journey takes them through Zurich, Paris, Denmark, Sweden, Finland, Moscow, and Vladivostok, from where they embark on the Annie Johnson, a freighter headed for California, via Manila. Meanwhile, Brecht’s 11-year old daughter Mari Barbara, and collaborator-mistress Ruth Berlau have joined the party. It is during this nomadic period that Brecht writes his so-called stock plays, including Galileo (1939/1946), The Good Person of Sezuan (1940), The Resistible Rise of Arturo Ui (1941), and The Caucasian Chalk Circle (1948).

lobbying, theatres in W. Europe do not offer him a long-term residency. The Soviet occupiers of East Germany, meanwhile, entice him to settle in East Berlin, where he is offered his own theatre company, the Berliner Ensemble, where he produces his previously scripted plays in privileged circumstances. He obtains an Austrian passport, which allows him to travel internationally despite the severe East-West travel restrictions of the Cold War. Although his work is rarely staged in post-WWII Soviet Union, and his creative fountain pen dries up with his arrival in Soviet controlled Berlin, the Khrushchev administration include Brecht as a prominent element in their propaganda war, culminating in his being awarded the Joseph Stalin International Peace Award (worth a quarter of a million dollars) in 1955. He dies a year later, at his home in East Berlin, August 14, 1956 from chronic heart disease.

Brecht’s six-year American period is cut off by his being subpoenaed by the McCarthy-initiated Un-American Activities Committee in October 1947. He leaves the U.S. the day following his self-preserving testimony of never having been a member of a Communist Party, an act that receives a lot of criticism from various corners.

He is received in Zurich as a welcome harbinger of aesthetic renewal in the theatre. However, in spite of his intense

When the curtain rose for the premiere of Dreigroschenoper on the evening of August 31, 1928, after a tumultuous and acrimonious rehearsal period, most insiders had predicted a swift closure. When the Ballad Singer’s hand-cranked organ broke down in the first song, the “Moritat of Mack the Knife,” things looked bleak. The sevenperson band, handling 23 instruments took over. The audience was still and stoic and remained so until Chief of Police Brown and

As he had prescribed in his will, his attending doctor had to drive a stiletto knife through his heart, so as to alleviate his fear to be buried alive. It was also an ancient custom for Roman Emperors.

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DRAMATURGICAL NOTES (CONT.)

by Dr. Piet Defraeye

Macheath launched into the catchy foxtrot tempo of the Kanonen song in which they sing gleefully of military spoils and conquest, chopping up resistant “whities” and “darkies” alike into “Beefsteak Tartar,” with the rest of the gang stomping out the rhythm in their army boots. The response was overwhelming and the production was essentially halted until the two would give an encore of the same song. The show was sold out the next day and remained so for months. Within weeks of the Berlin premiere, theatres across Europe were inquiring for the rights to produce it, and Bertolt Brecht and Kurt Weill became famous. Within the next twelve months Threepenny Opera was performed 4200 times in 120 different productions and within three years it was translated into eighteen languages. A 1933 production on Broadway, in English, got a tepid reception, however, and it would not be till 1954, with the new Blitzstein translation, (the same version we are performing at the Timms), that the European success was mirrored in the US and UK. In the end the New York production would run for over 2700 performances, spread over seven years. The success of the play was also sealed with the 1930 English and French film adaptations, directed by G.W. Pabst. Brecht’s subsequent novel, translated into English as A Penny for the Poor, by Desmond Vesey and Christopher Isherwood, is part of the hype surrounding Threepenny Opera.

Noteworthy is the fact that Brecht, though elated by the financial yield, was not that impressed with the popularity of his play, since, in his opinion, people responded mostly to the sentimentality of the story and the seductive musicality. In a 1930

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re-write, he converted Macheath’s den of thieves into corporate bank surroundings, introducing clearer communist inspired ideology. It was the beginning of the rift with Kurt Weill, who responded that he had little enthusiasm to put the Communist Manifesto to music.

Much has been written about the collaboration between Kurt Weill (19001950) and Bertolt Brecht. The fact is, it was a troubled collaboration, one which Weill repeatedly threatened to walk out on. The composer and music critic had already a close working relationship with playwright Georg Kaiser, for whom he composed a couple of one-act operas. Weill married the dancer Lotte Lenya, whose voice has become synonymous with the typical acerbic aesthetic of Threepenny. Weill met Brecht in 1927, and they decided to collaborate on the “Mahoganny” poems for a festival in Baden-Baden, which later led to the opera they co-wrote - The Rise and Fall of the City of Mahoganny (1931), though by that time their relationship had soured so much that both of them would have to speak through lawyers during rehearsals.

For Brecht, music was an intuitive part of performance. In his late teens, he spent hours performing in bars in Augsburg and Munich, gaining tremendous local popularity singing German popular songs, while playing the guitar. Clearly, the man had the gift of both poetic and musical muses. Apart from Weill, the playwright also worked with many other established and famous composers for his plays, including Franz Bruinier, Paul Hindemith, Hans Eisler, and, most of all, Paul Dessau.

DRAMATURGICAL NOTES (CONT.)

by Dr. Piet Defraeye

Collaboration, clearly, is Brecht’s modus operandi, and it has been a topic of intense debate among critics and scholars just as to what exactly is Brecht’s share of his creative output. There was, first of all, nothing safe from being recycled into Brecht’s writing.

Threepenny Opera is to a large extent a re-write of John Gay’s 1728 Beggar’s Opera, including the basic structure of a play within a play. (Gay’s play itself is chiefly inspired

by Jonathan Swift’s The Art of Walking the Streets of London (1716).) Other sources are incorporated verbatim in his play, including the German translations of French 15th century poet François Villon (eg. “The Epitath Ballade”), and English writer Rudyard Kipling (e.g. Kanonen song). Others are more concealed, including Polly (1729), a later play by Gay. Kurt Weill’s music too, is greatly inspired by a variety of sources, producing an eclectic mixture including lyrical music, Music Hall tradition, Anglican hymns, military marches, jazz, and chromatic phrases, and even echoes of Johann Pepusch, the 18th century composer of the original Gay opera.

When it came time to sign the royalties contract, Brecht stipulated that 62.5% of these royalties would go to him as the main author, 25% to Weill, as the composer, and 12.5% to Elisabeth Hauptmann as the translator of sources. Although Weill was not that happy with the deal, being accustomed to a more balanced arrangement, and Hauptmann was by then accustomed to her supportive role, it seemed unimportant since no one at the time could predict the enormous success and financial gain awaiting the play. While the authorship of The Threepenny Opera is highly debatable – John Fuegi, the controversial Brecht biographer attributes about 25% to Brecht – the fact remains that Brecht had both a remarkable magnetic attraction, as well as the unmatched capacity to surround himself

with very talented people, in his writing studio, as well as in the rehearsal hall. From the three co-writing women in his life (Elisabeth Hauptmann, Margarete Steffin, Ruth Berlau), to his model-actress wife Helene Weigel, the inspirational composers, ideosynchratic singers like Lotte Lenya and Peter Lorre, original theater makers like Erwin Piscator and Caspar Neher, all are resounding names in German theatre history. Brecht sustained these artists by his writing and his ideas, and they clearly sustained him. It was often conflictuous, and self serving, but also part of a creative and impacting ecology.

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ADMINISTRATIVE STAFF Kathleen Weiss: Chair, Department of Drama Julie Brown: Assistant Chair Administration David Prestley: Theatre Administrator / Events Coordinator Jessica Parr: Box Office Coordinator / Events Assistant Ruth Vander Woude: Graduate Advisor / Chair’s EA Connie Golden: Undergraduate Advisor Helen Baggaley: Office Coordinator With assistance from Faculty of Arts staff: Salena Kitteringham: Fine Arts Communications Lead Terah Jans: Fine Arts Marketing Specialist Kyle Ireland: Fine Arts Recruitment Coordinator

PRODUCTION STAFF Gerry van Hezewyk: Production Manager / Administrative Professional Officer Larry Clark: Technical Director, Timms Centre for the Arts Darrell Cooksey: Head Carpenter Julie Davie: Cutter Joanna Johnston: Costume Manager Jane Kline: Property Master Karen Kucher: Costumer, Fine Arts Building Don MacKenzie: Technical Director, Fine Arts Building Jeff Osterlin: Lighting Supervisor Jessica Parr: Production Administrative Assistant Matthew Skopyk: Second Playing Space Coordinator / Sound Supervisor

FRONT OF HOUSE Bonita Akai, Angela Cotton, Danielle Dugan, Alisdair Gadowsky, Bob Gaudet, Terri Gingras, Tasreen Hudson, Laura Norton, Candice Stollery, Faye Stollery, Cheryl Vandergraaf and Catherine Vielguth VOLUNTEERS: Christian Badiu, Debbie Beaver, Oleg Bogatryrevich, Susan Box, Franco Correa, Sarah Culkin, Joan Damkjar, Alana De Melo, Jonathan Durynek, Mary and Gene Ewanyshyn, Thom Friesen, Ron Gleason, Darcy Hoover-Correa, Mary Ingraham, MarieAndrée Lachapelle, Don Lavigne, Connie Logan, Sareeta Lopez, Tom and Gillian McGovern, Marlene Maylj, Connor Meeker, Jennifer Morely, Alice Petruk, David Prestley, Leila Raye-Crofton, Jesse Sand, and Jane Voloboeva 19

U OF A STUDIO THEATRE MANDATE • To provide sterling training and educational opportunities for BFA acting, technical theatre and stage management students, and MFA design, directing and MA dramaturgy students • To provide research / creative activity opportunities for the Department of Drama’s faculty practitioners • To provide opportunities for connections with departments across campus through the choice of plays which have cultural, literary and historical significance • To provide opportunities for the community at large to engage with the Department of Drama through guest artist collaboration and attendance as audience members Kathleen Weiss, Artistic Director, U of A Studio Theatre and Chair, Department of Drama

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DONORS H

eartfelt thanks to the individuals, foundations and organizations listed below for recognizing the importance of the arts by directly investing in the Department of Drama’s innovation and leadership in theatre training and performance.

A round of applause to our supporters!

Baha R. Abu-Laban Jan­et Allcock Giovanna Anselmo Vera Apletree Doug Armstrong Annalisa C. Baer Barbara Baer Pillay Roderick E. Banks James T. Barmby PHD David Barnet & Edith Mitchell Marg Barrie William Barton Carole Barton Joan Bensted William Betteridge Richard Bowes David Brindley Julie Brown Dr Adolf Buse Rachel Christopher Brent Christopherson Penny Coates Faye Cohen Dr Lesley B. Cormack Brian Crummy Brian J. Deedrick Robert Desmarais W Gifford Edmonds Jacqueline Evenson John & Bunny Ferguson Mike Giles

Ron & Sheila Gooding Melvina M. Gowda Bohdan Harasymiw P Ruth Harle Dr Murray Hawkins Christopher Head Bonnie Irwin Jeanne Irwin Pavel and Sylva Jelen Dr Joan M Johnston Gerry Kendal Michelle Kennedy Matthew Kloster Karen Kucher Patricia Langan Bill Lauder Peggy M Marko Gordon McIntosh Rod McLeod Mary Ellen Meszaros Betty Moulton Dr Audrey O’Brien Dale Olausen Esther Ondrack Mary-Ellen M. Perley-Waugh Tom A. Richards Dr Owen Ricker Judith Robinson Kenneth L. Roy Valerie Sarty R Brenda Devlin Schmidt

This list includes those who donated to various Drama funds from December 1, 2013 - November 30, 2014.

Apologies for inadvertent omissions or errors. Contact 780-492-2271 for corrections.

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