Musical
Revival

2) Beggar's Opera (Revival)

Joué durant  3 semaines

Première preview: 24 November 1999
Première: 24 November 1999
Dernière: 18 December 1999

Compositeur: *** Divers •  
Parolier: John Gay •  
Libettiste: John Gay •  

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Metteur en scène: Jonathan Miller •  
Chorégraphe:  

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Avec: Mike Burnside (Peachum), Buffy Davis (Mrs Peachum), Ali McGregor (Polly Peachum), Michael Feast (Macheathj, Bianca Campbell (Jenny Diver), Tara Harrison (Lucy Lockitt), David Kincaid (Lockitt) 

Commentaire: London’s second “Beggar’s Opera” in a month was judged to be another mish-mash and a tedious drawn-out failure, despite being directed by Jonathan Miller. The musical arrangements were odd - using accordion, banjo, guitar and swing bass; the interpolation of references to the Ride of the Valkyries, Over the Rainbow and similar (to replace Handel’s “Rinaldo” quotes) seemed inappropriate; and an attempt to set the piece in Victorian London but then have Macheath make his first entrance in a cowboy suit was mystifying. Casting the show with actors who were mostly not singers, and stretching the whole thing to a three hour performance was felt to have added to the general dismay.  (plus) 

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Musical
Revival

1) Beggar's Opera (Revival)

Joué durant  3 semaines

Première preview: 22 November 1999
Première: 24 November 1999
Dernière: 18 December 1999

Compositeur: *** Divers •  
Parolier: John Gay •  
Libettiste: John Gay •  

---

Metteur en scène: Jonathan Miller •  
Chorégraphe:  

---

Avec: Mike Burnside (Peachum), Buffy Davis (Mrs Peachum), Ali McGregor (Polly Peachum), Michael Feast (Macheath), Bianca Campbell (Jenny Diver), Tara Harrison (Lucy Lockitt), David Kincaid (Lockitt) 

Commentaire: London’s second “Beggar’s Opera” in a month was judged to be another mish-mash and a tedious drawn-out failure, despite being directed by Jonathan Miller. The musical arrangements were odd - using accordion, banjo, guitar and swing bass; the interpolation of references to the Ride of the Valkyries, Over the Rainbow and similar (to replace Handel’s “Rinaldo” quotes) seemed inappropriate; and an attempt to set the piece in Victorian London but then have Macheath make his first entrance in a cowboy suit was mystifying. Casting the show with actors who were mostly not singers, and stretching the whole thing to a three hour performance was felt to have added to the general dismay.  (plus) 

Presse:

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