Review: Kerjäläisooppera

WHEN EVERYTHING IS ON SALE

One can well imagine the resonance of the premiere of Bertolt Brecht’s opera The Three Penny in Berlin in 1928, where social antagonisms began to escalate towards the rise of National Socialism. The background to the performance, which mocked capitalism, was the English The Beggar’s Opera (1728), revived in London in 1920. It included poems by Francois Villon and music composed by Kurt Weill. Soon the story of the Puukko-Mackie was also sung in Helsinki and is still being sung.


The Beggar’s Opera at the City Theatre, directed by Kari Heiskanen, is as cold as this time, and its hero Puukko-Mackie (Oskari Katajisto) is straight out of a textbook on narcissism: everything possible belongs to me. Money and power are decisive, and conscience is an unknown concept. It is only when the authorities begin to put a noose around the man’s neck that something like an emotion emerges. And lo and behold, the villain is rewarded generously.

The Beggar’s Opera has been miraculously well preserved. Its observations about the power of money and man’s predatory thirst and ruthlessness still bite. No one has a clue about solidarity when it comes to self-interest. The play shows the audience reality, and everyone in their seat can easily fill in the gaps and make interpretations. If the investments do not generate enough profit in Finland, they move on to other markets. Look at people, look around!


Bertolt Brecht , like the Mackies, was a ladies’ man. It is said that he had a hypnotic effect on women. Brecht made agreements with them that bound women to fidelity, but gave him complete freedom. In this sense, the women of The Beggar Opera , Polly Peachum (the finely singing Vuokko Hovatta), Kapakka-Jenny (Ursula Salo) and the whores who have been through a lot are very similar to Brecht: Strong, sharp-tongued, fearless and independent. They quickly realize what is going on and stand their ground. They also burn the audience quite well.