The Rise and Fall of the City of Mahagonny: A Review of ENO's Big and Brash Staging
The City of Mahagonny, a spider-web metropolis built by three con artists to exploit unsuspecting tourists, presents a unique challenge for any production. The worst crime in this dystopian setting? Running out of cash. And yet, Jamie Manton's new interpretation of Kurt Weill and Bertolt Brecht's opera manages to shine a light on frugality, despite its grandeur.
This production is a spectacle, utilizing the entire Coliseum stage to create an immersive experience. Milla Clarke's set design, featuring a massive container, incorporates familiar elements from past ENO productions, and the costumes, reminiscent of charity shop finds, align perfectly with the trashy aesthetic.
The opera itself is uneven, mirroring the story's exploration of exploitation and greed in a US desert dystopia. Manton's direction avoids obvious parallels to modern-day issues, instead inviting the audience to draw their own conclusions. The initial appearance of the sucker tourists, dressed in office attire and lined up in the aisles, adds to the immersive experience.
The production incorporates unique touches, such as a human megaphone, a white-clad alien-like figure, and a tap-dancing hurricane, all contributing to the opera's dynamic storytelling. Lizzi Gee's choreography is on full display in the treadmill-based scenes, including the iconic 'Alabama Song' performed by Danielle de Niese, a star-worthy Jenny with a heart of gold. Simon O'Neill's portrayal of Jimmy MacIntyre elevates the character's lines to Wagnerian levels, while Elgan Llŷr Thomas' elegant singing as Jack adds a poignant touch to his tragic arc.
Rosie Aldridge shines as the formidable Widow Begbick, expertly mixing whisky with siphoned liquid. Jeremy Sams' English translation is sharp and witty, enhancing the opera's impact. André de Ridder, in his role as ENO's designated music director, keeps the orchestra energized, but it's the chorus that truly steals the show. Their exceptional performance of Weill's intricate ensemble writing is a testament to their skill and dedication, and they deserve more secure employment.
Despite its grandeur, this production manages to showcase the opera's themes of exploitation and greed, all while maintaining a sense of thriftiness. The chorus, in particular, delivers a powerful performance that will leave a lasting impression on audiences.
