Michael Feingold's translation of the 1928 Brecht-Weill musical, itself based on Eliszabeth Hauptmann's German translation, makes it more accessible to 21st-century audiences. Jules Aaron's staging of it yields a new and vital version of the landmark show that suggests a melding of works like Oliver! and Sweeney Todd while pulsating to its own dark vision. The show, originally adapted from John Gay's The Beggar's Opera of 1728, has always cheerfully mocked religion and the pretensions of the bourgeoisie, infusing German cabaret with American jazz; Feingold transmutes these elements into a look at society's dark underbelly that makes us laugh but leaves a bitter aftertaste.
This staging's dark look gets a boost from its 1920s-inspired production design by Shon LeBlanc (costumes), Anthony Gagliardi (wigs and hair), Paul Fabre (sound), and Jared A. Sayeg (lighting), which lend the story's gangs of thieves and beggars the look of the malevolent Droogs in the 1971 film A Clockwork Orange. Brecht and Weill, though, defang their criminals, turning them into lovable, if misguided, rogues. Aaron, music director Darryl Archibald, and choreographer Kay Cole build upon this foundation. The 14-person cast moves around John Iacovelli's set with stylized precision and can sing with the best of 'em, but it's the actors' gleefully perverse characterizations we take notice of. Front and center is Jeff Griggs, who resembles Eric Roberts (with shades of Liam Neeson or a young Boris Karloff) and who, as Macheath, takes this staging by its throat with his unbridled ferocity. He and Aaron add inspired bits of business to the character, like his habit of wiping his hands on a clean white handkerchief after shaking hands with someone. As Polly Peachum, Shannon Warne has the comely exterior of Julie Andrews but shows what a façade that is, whether mocking a burlesque beauty's sexy musical routine or viciously bossing around husband Mackie's gang. The entire hungry-looking, hollow-eyed cast is superb, but kudos to Eileen T'Kaye, whose Mrs. Peachum is a cackling old crone able to discern the unholy motives of those around her. The enduring image, though, is of the tall, gaunt Griggs, whose Macheath commands the stage with his explosive presence.
Presented by and at International City Theatre, Long Beach Performing Arts Center, 300 E. Ocean Blvd., Long Beach. Feb. 20–Mar. 22. Thu.–Sat., 8 p.m.; Sun., 2 p.m. (562) 436-4610 or International City Theatre