Greed, Commerce and Lies in Theatre Gigante’s ‘Beggar’s Opera’

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PHOTO CREDIT: Robert M. Powell

Theatre Gigante takes a humbly graceful leap into the nature of greed, commerce and the substance of lies in its first show of the season, The Beggar’s Opera. Isabelle Kralj and Mark Anderson’s beautifully concise adaptation of the 1728 original features a roguish Steven Koehler as the romantic thief Macheath. Here, Koehler is both the thief and the actor who plays him in a production of the show that is the dream and toil of struggling actors played by Kathryn Cesarz and Ben Yela. 

After an introduction by Macheath, Cesarz and Yela establish narrative momentum as the two theater professionals navigate the difficult path of a challenged production struggling with a lack of funding. The amplified sense of financial struggle resonates onstage with the clever use of atmospheric scenic elements by artist Carri Skoczek and an ever-present cast inhabiting the background of the production.

The old, familiar story gradually asserts itself as an impressively assembled supporting cast, including Leslie Fitzwater, Rose Grizzell, Nate Press and others, adds atmosphere in the background. Budget challenges cause a prominent character, Macheath’s lust interest, to be played by a cardboard cutout that’s gracefully moved across the stage by A.J. Magoon. The chemistry between Koehler, Magoon and the cutout is oddly compelling as a central conflict.

As the fictitious production struggles along, Cesarz and Yela are given a Faustian bargain of commerce or integrity in the form of potential funding from a large source represented by a charming Rick Pendzich, who gets drawn into the cast of a show on a steady march to its inevitable curtain.

Through Saturday, Oct. 12, at Kenilworth 508 Theatre, on 1925 E. Kenilworth Place. For ticket, visit gigantebeggar.brownpapertickets.com.