A modern day version of The Beggars Opera

Dead Dog in a Suitcase
Kneehigh Production
Opera House Wellington
New Zealand Festival
Until March 2

See also: NZ Festival opens with three formidable dance works

There probably aren’t too many better modern stage works of political satire than Brecht’s “Threepenny Opera” and John Gay’s Beggars Opera is one of the great stage shows of all time. So who would try to produce a better version? Well the UK-based Kneehigh has had a go with its “Dead Dog in a Suitcase (And other love songs).”

Written by Carl Grose with music by Charles Hazelwood, director Mike Shepherd has created a 21st-century version, which is linked to corporate greed and political graft.

The sinister Macheath looms as an ever-present figure, devoid of morality, casting a shadow over a shadowy world and the Peachums are pretty evil along with a corrupt policeman in the form of Colin Lockit. They could all be characters from a contemporary crime thriller.

John Gay used the musical forms of his day to create a down to earth opera. So too has Grose with his musical score, which draws on contemporary forms – hip hop, punk, new wave and soul. One of the acts opens in a disco with a disco ball and appropriate disco music while Macheath sings his final tribute in the style of Freddy Mercury. He even borrows directly from John Gay in having the final song sung to the tune of Greensleeves as Gay himself had done 300 years ago.

The tale sees Macheath as a contract killer who shoots a truth-revealing politician and also the politician’s dog which he reasons, could be a witness. The dog, which is bundled into a suitcase, is then inexplicably swapped, unintentionally on four or five occasions with another suitcase full of cash intended to pay for Macheath's capture.

Ed Hughes’ Macheath manages to be cool, charming and ruthless while. Angela Hardie’s pretty Polly Peachum turns on some fine singing along with the brilliantly portrayed Lucy Lockit (Beverley Rudd. The boorish Mrs Peachum played by Rina Fatania turns on the powerful voice to match her powerful presence and Martin Hyder’s Les Peachum manages some pretty strong singing as well.

The one honest and decent figure in the play, the wife of the slain politician, Widow Goodman provides songs that reflect on the corruption and give the work some of its moral compass.

The final hanging sequence tableau is full of great singing although the drama is marred by having about three conclusions or denouements.

One of the entertaining aspects of the play is that the actors as well as creating great roles are also able to play a selection of instruments and engage in a bit of circus performing.

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