The Beggar's Opera

John Gay’s ‘ballad opera’ was premiered in 1728, and struck a blow to serious opera in London. Holding up a mirror to society, the Beggar’s Opera was the most popular show in early 18th century London. This was opera for the poor man, its music was based on popular folk tunes of the time, its characters were criminals, prostitutes, forgers, pickpockets, beggars, people making the best of the hard times in which they had to survive.  For me, this show was extremely interesting from a historical point of view, and also from a musical point of view, as I love 18th century songs.

FAOS had decided to rewrite the text, and set the show in the 1960s, the era of the Krays. As a result, no elaborate hairstyles or makeup was required. The team must have had fun sourcing the ladies’ costumes – housecoats, negligees, mini-dresses and all! The costumes took many of us back with a chuckle, I am sure! The men looked suitably slick, as East End gangsters, in their snappy suits.

The scene was set in the Blind Beggar Inn. I was fascinated by the furnishing of the bar during the first number, and the clinking of all the bottles of spirits as they were added to the shelves, as customers gradually appeared. To set the piece in the 1960s was an interesting decision – I was hauled back to the 18th century often by the songs, and yet the piece is rather ageless, the themes continue, moral and financial corruption still fill our newspapers. The songs were charming, and largely well sung, although not always easy to sing, I imagine. Many of the songs were versions of familiar old favourites, like Golden Slumbers, Over the Hills and Far Away, My Love is like a Red Red Rose, and there were tunes borrowed from other sources, Handel’s Rinaldo and Purcell, for example.

The set change to Wormwood Scrubs was an interesting contrast, of course, to the colourful bar scenes. Suitably sparse, the prison looked very scary, and was very atmospheric.

The three principal characters, the sweet, innocent, wronged yet feisty Polly Peacham (Molly Beere), her even more feisty rival Lucy Lockit (Hazel Burrows), and the object of their affection, the weak-willed and irrepressible highwayman MacHeath (Kevin Sampson) were portrayed very well, were highly believable, and sung well too. All deserve great praise, excellent performances all. Prison Officer Lockit (Geoff Vivian) was in fine voice too, and added a touch of humour to the ‘prison’ proceedings.

The ladies of varying virtue were colourful and amusing, yet their tales were poignant nevertheless. The cockney lads, with their wonderful macho ‘John Wayne’ style of walking – did that take much practising, I wonder?! – were very impressive. A fine ensemble piece. The team of Director, Heather Legat, and Musical Director, Diana Vivian, who have worked together successfully in the past, pulled it off yet again. Altogether a fun and interesting evening, well performed, beautifully sung, and of great historical interest.

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