Weekend review roundup -- The Brecht/Weill edition

LoveMusik
Even if "jukebox musical" has become a pejorative, I can think of a lot worse combinations than Alfred Uhry, Kurt Weill, Donna Murphy and Michael Cerveris. "LoveMusik" -- now in previews at the Biltmore Theatre -- is a good utilization of the genre, using Weill's music to tell the story of his relationship with Lotte Lenya, a relationship without which neither of their careers would be what we know today. Uhry's somewhat bloated book is a bit boring in spots, however. Watching the opening scenes of Lenya and Weill's bizarre courtship, I thought I was in for a long evening. Fortunately, the show picks up considerably as their respective careers do the same. What follows, in fact, is some utterly terrific moments. Murphy's "Alabama Song" and "Surabaya Johnny" are sublime. Cerveris, after playing a string of over-the-top antiheroes like Sweeney Todd and John Wilkes Booth in "Assassins," is wisely understated as the diminutive Weill. His quiet second-act "That's Him" is delightfully done in a bizarre context that's ultimately touching. And David Pittu brightens up the stage with his every appearance as Bertolt Brecht. Between this and recent scene-stealing turns in "The Coast of Utopia" trilogy and last season's production of Harold Pinter's "Celebration" at the Atlantic, Pittu is proving himself quite a comedic asset to the New York stage. The show, however, still drags on too long despite cuts made since the start of previews. Weill's death fails to register the requisite emotion, and neither does the later turbulence of his relationship with Lenye. If neither of them seemed to care much about their relationship, why should we?

Happy End
Watching Donna Murphy perform "Surabaya Johnny" was one of those moments that made me feel lucky to be a theatre patron. Little did I know that this weekend would afford a very different but equally thrilling interpretation of that song -- in Theater Ten Ten's production of Brecht and Weill's "Happy End." This is Brecht to the core, down to the uncomfortable folding chairs for audience seating. But sore butts are worth the payoff. Lorinda Lisitza is exceptional as Hallelujah Lil, the Salvation Army firebrand who infiltrates a gang of nasty criminals. This gal could have kicked Sarah Brown up and down Runyonland any day of the week. Despite the lack of flashy credits in the bio, the rest of the ensemble, many of whom double as the orchestra, is mostly excellent as well. All in all, a great chance to see a rarely produced piece of theatre history.

Threepenny Opera
I wasn't blogging when the Roundabout's "Threepenny Opera" was running last year, and I'm certainly not going to rehash my thoughts on this show now. But this Brecht/Weill-heavy weekend renewed my wish to have a recording of that production. On one hand, perhaps it's a good thing to not have that atrocious translation preserved for the ages. But I really, really want a copy of Cyndi Lauper's "Solomon Song," along with a few other moments from that production. I know it's not going to happen now, but a boy can dream, right? At least I have Charlotte Rae's "Pirate Jenny." I've mentioned this recording before. Download it now if you haven't already.