
Polly Peachum (Erin Driscoll) and Lucy Brown (Rick Hammerly) vie for the love of Macheath in “The Threepenny Opera,” now playing at Signature Theatre through June 1, 2014. Photo by Margot Schulman.
Meh. That’s the best way to describe Signature Theatre’s production of The Threepenny Opera. But I can’t blame them for it. After all, it was written to be that way. Sort of.
Playwright Bertolt Brecht, who lived in Germany through the mid 20th century, believed that theatre was meant to be a forum for political ideas, in the hopes that it would result in actual social and bureaucratic change. Most notably authoring plays such as The Caucasian Chalk Circle and Mother Courage and Her Children, he is also credited with establishing the genre of Epic Theatre, of which almost all his plays, including The Threepenny Opera, are a part of.
Epic Theatre is based on the idea that a play should not create any type of emotional cartharsis or cause the spectator to identify emotionally at all with the characters or action on stage. By denying the audience any type of impassioned feeling, he believed it would instead allow them to adopt a critical socio-political view designed to provoke self-reflection and be moved to effect real change in the world.