Image via Florentine Opera
It’s often been said that “Hell is of our own making.” No historical theatrical work better debates that point than Little Mahagonny. While the 1927 song play by Kurt Weill with libretto by Bertolt Brecht clocks in at 25 minutes, it runs long on big ideas, challenging our very notion of what constitutes theater. And opera. This month, Little Mahagonny makes its first appearance at the Florentine Opera during the company’s 88-year history. And it’s a challenging appearance, from COVID to content.
There is no dialogue or character development. The inhabitants of the city called Mahagonny are decadent within their collective despair. And above all (literally) God tells them they must go to you-know-where. But not so fast. They refuse the Divine Request, stating that they’re already there. Brecht’s pointed commentary on the decline of the social classes includes his vision of the lowest depths where desire and darkness dwell.
“Mahagonny is an exploration of humanity’s dark impulses toward greed, ignorance, and destruction,” explains Jill Anna Ponasik, the show’s director. “The scene program, in contrast, explores our noble potential toward creation, playfulness, and generosity. It’s a lot to pack into one fast-paced hour.”
The encroaching darkness of the 25-minute Mahagonny gives way to the welcoming light of “Opera Scenes,” taken from some of the Florentine’s favorite productions, including The Marriage of Figaro, Die Fledermaus and The Barber of Seville.
“Jill Anna, Janna Ernst [principal coach and pianist], Francesco Milioto [artistic advisor] and I had a lot of conversations about what classical pieces one can set against a showstopper like Mahagonny Songspiel,” says Maggey Oplinger, Florentine Opera General Director. “Favorites for sure, especially after such a long break from live performance!”
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Clearly, COVID safety protocols play a large role offstage which has transformed this production on stage The detailed opera safety plan includes COVID coordinators who maintain strict conditions backstage to ensure the safety of all the performers. And moving the performance to the larger space of Uihlein Hall at the Marcus Center allows for safe distancing audience members and the orchestra musicians.
And for its return to live performance, this production really does have something for everyone, from favorites from “Opera Scenes” to firsts like Little Mahagonny.
“Weill feels like a great fit for a Milwaukee audience that loves great melody, has enjoyed our shorter performances, and will appreciate that part of the show was written in English,” Oplinger point out. “It’s a quirky marriage between classical and the pop music of the 1920s and has so much texture and movement and fun—even though the story itself takes us on a journey through dissatisfaction.”
Little Mahagonny and Opera Scenes will be performed live on May 7 at Marcus Center for the Performing Arts’ Uihlein Hall. Afterward, performances can be accessed digitally. Please note the production is performed in multiple languages. Run time: 1 hour, 15 minutes. For more information, call: 414-291-5700 ext. 224 or visit the Florentine Opera website.
