The Threepenny Opera
The Threepenny Opera
A ground-breaking piece of twentieth century musical theatre created by theatre icons and adapted by a modern master, The Threepenny Opera at the National Theatre is an explosive new production.
As London is preparing itself for the coronation, thieves and whores are out in force to take what they can while the police busily strike deals to try and keep these undesirables hidden. Mr and Mrs Peachum are anticipating a plentiful day as beggars but something else is on their minds. Mack the Knife has reappeared and their daughter still isn’t home.
A pioneering musical with book and lyrics by theatre heavyweight Bertolt Brecht and music by acclaimed composer Kurt Weill, this brand-new production has been adapted by multi-award-winning English playwright Simon Stephens (Punk Rock, Pornography, The Curious Incident of the Dog in the Night-Time). Starring Olivier Award-winner Rory Kinnear (Skyfall, Spectre, Black Mirror) as the amoral criminal Macheath, Weill’s astonishing score provides the perfect backdrop to Stephens’ dark, witty and vibrant new translation.
Bold and brash, The Threepenny Opera promises to be the highlight of Rufus Norris’ 2016 season at the National Theatre. Book your tickets today.
- Duration
Aprrox 3hrs inc. interval
Additional Details & FAQ
- Cancellation Policy
No refunds after booking.
- How Does It Work
Please print confirmation and bring along to Box Office to exchange for actual ticket.
- Where Do I Go
Upper Ground, London SE1 9PX
Reviews
Oliver P
Jul 8, 2016
I have seen and listened to The Threepenny Opera on a few occasions, and this production was a poor example. The staging was too literal, and failed to catch the atmosphere. I did not care for the new interpretation, the bad language and general level of blood. Although the actors and musicians did their best, this production at The National was a missed opportunity. Had i known it was going to be this bad, I would not have gone.
Susanne Williams
Jul 2, 2016
A somewhat lack-lustre show with mediocre performances from an ensemble who all looked a bit bored and exhausted from start to finish. The wonderful Rory Kinnear carried the show, but even he couldn't work miracles. For once in our long theatre-going lives, we were tempted to join our unknown neighbours on our right and leave at half-time. Or to just fall asleep throughout the second half, as did the man on our left. Just what was going on with the scenery? We saw a production of Mozart's La Finta Giardiniera at Glyndebourne a year or so ago and they used a similar technique. BUT there, the scenery in the first Act was solid and represented pomposity, wealth and elegance. Then it was replaced in the second Act by exact replicas in paper, that were burst through by the players and smashed to symbolize the falseness of society. Whereas here, it started out as a tatty mess and went ..... nowhere. A bit like the show as a whole I am afraid to say.