Attiki Cultural Society - The Beggar's Opera

The Beggar's Opera

In a new version by Ian Burton and Robert Carsen

« Life's a jest, and all things show it.
I thought so once, and now I know it. »

My Own Epitaph - John Gay

Written by John Gay in 1728, The Beggar's Opera is widely considered to be the first musical comedy, and one that pre-empted by about 300 years the current vogue for « jukebox » productions, which create a plot to fit around hit songs. Gay took some of the best-known tunes of his day, both classical
and popular, and worked them into a savagely satirical tale set amongst London's thieves, pimps and prostitutes.

Wildly popular from its first performance in 1728, it has been the basis for numerous stage, musical and cinematic adaptations ever since. It explores a cynical world where capitalist greed, crime and social inequality are the norm. All politicians and officials are, by definition, corrupt, and there is nothing to do but join in if you want to get ahead.

Sounds familiar? Indeed nothing much has changed since the work had its premiere, and the themes of The Beggar's Opera are those which continue to obsess modern television and cinema. In this production we hope to try and match the transgressive mood and restless energy of the original. As
Gay with razor sharp observation has one of his characters say at the beginning of Act III: Lions, wolves and vultures don't live together in herds, droves or flocks. Of all animals of prey, man is the only sociable one. Every one of us preys upon his neighbor, and yet we herd together.

Robert Carsen

A FEW WORDS ABOUT THE BEGGAR’S OPERA

Rather than an opera per-se, The Beggar’s Opera is a piece of theatre interspersed with sixty or so ballads and melodies, the « hits » of the time, certain of which were written by such well-known composers as Purcell and Händel. Interpreting this tale of capitalist greed and social inequality capable of rivaling Les Misérables, this production, directed by Robert Carsen, is the occasion to rediscover the satirical text of John Gay and the improvisational talents of the musicians of Les Arts Florissants who will bring the score to life every evening in much the same way as a jazz-musician brings his own style to the melodies of jazz.

SYNOPSIS AND MAIN CHARACTERS
The satirical opera focuses around the famous highwayman, MacHeath, who secretly marries Polly Peachum, although he had previously promised himself to Lucy Lockit. The two families seek to murder the conman in order to win his fortune.
MACHEATH (Tenor or Baritone)
A famous highwayman - becomes the target for murder when Peachum and Lockit fight to claim his fortune.
POLLY PEACHUM (Soprano)
Secretly marries the famous Highwayman, MacHeath. Mr and Mrs Peachum are horrified until they realise they could benefit from his fortune...
LUCY LOCKIT (Soprano)
Daughter of the corrupt prison wardon. MacHeath had previously agreed to marry her - she now wants to see him suffer.
MR PEACHUM (Bass)
Leader of criminals. Alarmed to hear his daughter Polly has married the famous highwayman, MacHeath. Soon realises it could be a profitable match if he is able to kill his son-in-law and gain his money.
MRS PEACHUM (Mezzo)
Wife of Mr Peachum, the powerful leader of criminals.
LOCKIT (Tenor)
A corrupt prison wardon. Learns MacHeath promised to marry his daughter, Lucy. Decides to challenge Peachum for the fortune

Ballad opera by John Gay and Johann Christoph Pepusch
In a new version by Ian Burton and Robert Carsen
Stage direction Robert Carsen
Musical conception William Christie

Duration:1h 50 without intermission Performed in English,spoken and song

Premiered on April 20, 2018 at Théâtre des Bouffes du Nord
On tour during the 2018/2019 and 2019/2020 seasons

Set : James Brandily
Costumes : Petra Reinhardt
Choreography : Rebecca Howell
Lighting : Robert Carsen and Peter van Praet
Dramaturgy : Ian Burton
Associate director : Christophe Gayral
Assistant director : Stéphane Ghislain Roussel
Make-up/Wigs : Marie Bureau du Colombier
Sound design : Léonard Françon
Casting director : David Grindrod CDG
Surtitles : Richard Neel
Costumes intern : Jana Höreth
Set design intern : Ava Rastegar

With
Robert Burt: MrPeachum
Beverley Klein: Mrs. Peachum/ Diana Trapes
Kate Batter: Polly PeachumBenjamin PurkissMacheathKraig ThornberLockit
Olivia Brereton: Lucy LockitLyndsey Gardiner Jenny Diver SeanLopemanFilch /Manuel Gavin Wilkinson Matt
Taite-Elliot: Drew Jack / Gardien de prison
Wayne Fitzsimmons: Robin Dominic Owen Harry Natasha Leaver Molly Emily Dunn Betty
Louise Dalton: Suky
Jocelyn Prah: Dolly

And the musicians of the ensemble Les Arts Florissants

Direction and harpsichord (alternately)
William Christie or Florian Carré or Marie van Rhijn
Musical researche Anna Besson and Sébastien Marq
Music score edition Pascal Duc (Les Arts Florissants)

Production C.I.C.T.– Théâtre des Bouffes du Nord
Co-production Attiki cultural Society Athens ; Les Arts Florissants with the help of CA-CIB ; Angers Nantes Opéra ; Opéra de Rennes ;
Les Théâtres de la Ville de Luxembourg ; Opéra Royal / Château de Versailles Spectacles ;
Grand Théâtre de Genève ; Théâtre de Caen ; Edinburgh International Festival ; Festival di Spoleto ;
Centre Lyrique Clermont-Auvergne ; Opéra Royal de Wallonie-Liège ;
Opéra de Reims / La Comédie de Reims CDN ; Teatro Coccia-Novara ; Teatro Verdi-Pisa ; Cercle des partenaires des Bouffes du Nord
With the generous support of KT Wong Fondation
Set Construction Angers Nantes Opéra

Attiki Cultural Society
On Tour THE BEGGAR’S OPERA

July 6 to 8, 2018: Spoleto Festival / Teatro Nuovo Gian carlo Menotti / Italy
August 16 to 19, 2018: Edinburgh International Festival / King’s Theatre / United Kingdom September
September 27 to 29, 2018: Théâtres de la ville de Luxembourg / Grand théâtre / Luxembourg
October 3 to 7, 2018: Grand theatre de Genève / Opéra des nations / Genêve / Switzerland
October 11 to 12, 2018: Centre lyrique - Clermont Auvergne / Opera-theâtre / Clermont-ferrand / France
October 20 and 21, 2018: Teatro de Pisa / Pise / Italy
October 27 and 28, 2018: Teatro Coccia / Novara / Italy
November 1 and 2, 2018: Attiki Cultural Society / Megaron / Alexandra Trianti Hall / Athènes / Greece
November 7 to 9, 2018: Angers Nantes Opéra / Grand théâtre d’Angers / Nantes / france
November 13, 2018: La Passerelle / Saint Brieuc / France
Novembrer 16 and 17, 2018: Le Dôme / Saumur / France
November 20, 2018: Théâtre des Jacobins / Dinan / France
November 23 and 24, 2018: Théâtre Anne de Bretagne / vanes / France
November 27, 2018: Le théâtre - Scène Nationale St Nazaire / France
November 30 and December 1st, 2018: Les Quinconces - L’espal / Le Mans / France
December 4 and 5, 2018: Le grand R / La roche sur Yon / France
Décember 8, 2018: Théâtre de laval / France
December 11 to 14, 2018: Angers Nantes opéra / Theatre Graslin / France
December 18 to 21, 2018: Théâtre de Caen / France
January 11 to 13, 2019: Opéra royal / Château de Versailles spectacles / France
January 16 to 19, 2019: Opéra de Rennes / France
January 22 and 23, 2019: Théâtre de Cornouaille / Quimper / France
January 26 and 27, 2019: Opéra de Reims / France
February 2 and 3, 2019: Opéra de Massy / France
February 5 and 6, 2019: La Coursive / La Rochelle / France
On tour for 19/20 season

« (…) it tackles different heated crises of our time that have international resonance and in a way that strikes at the comfort of its audience. »
« Its hilarity and at times, completely ludicrous nature plays into a larger social commentary. »
« The contrast works like a punch in the gut, and the audience lets out a collective gasp. »
« With dirty language and Brexit satire set to elegant baroque tunes, the production (…) has been billed a beggar’s opera “for our own turbulent times”. »

The Guardian

« It sets the tone brilliantly for a scabrous, virulent, gleefully profane production that teeters between grotesque humour and genuine shocks. »

The Telegraph

« A brilliant tour de force between baroque and modernity »
« [Robert Carsen] bedazzles us when, with a magician’s touch, he spins the stage set around and transforms a baroque farce into a Thirties’ Hollywood comedy […]. »

Libération

« One is overcome with pleasure by the frantic vitality of a show delightfully performed, played to perfection, and subtly making light of yesterday and today. With imagination, it respectfully and
lovingly takes hold of a work written in 1728 and manages to make it so close to us, so funny andferocious. »

« With a wild and impertinent happy end. As if there were no break. As if ages and arts endlessly answered each other. »

Télérama

« With Anglo-Saxon professionalism the actors sing, dance, jump and take obvious pleasure in playing this comedy that doesn’t mince its words. »
« Bloody good ! »

Les Echos

« An update that underlines the timelessness of a play whose fiery irony inspired so many artists over the years. »
« With terrific team-work, the amazing company of British actors-singers-dancers and the young French instrumentalists of the Arts Florissants, sweep away everything on their path. And nothing
seems so beautiful and so poetic as the cluster of multifunctional cardboard boxes amongst which the beggars flail around. »

La Croix

« Simple, basic, and accomplished: in Paris or somewhere along its long tour to follow, you mustn’t snob these magnificent beggars! »
Diapason

« The team (…) have put together a high-energy show which remains true to John Gay’s original satire. »
Opera Critics

« (…) Robert Carsen’s Theatre des Bouffes du Nord staging of John Gay’s “ballad opera”, with onstage music by William Christie’s baroque ensemble Les Arts Florissants, is the sort of show you could watch multiple times and find new details to marvel and chuckle at. »
« The language is ripe, but never gratuitously so, and it is very funny, even if you daren’t laugh too long at one thing for fear of missing the next. »
The Herald Scotland