When Anita La Selva first encountered British playwright Simon Stephens’ 2016 adaptation of Bertolt Brecht and Kurt Weil’s iconic musical The Threepenny Opera, it hit her like a jolt of electricity. “After reading this version of the play, I literally had to peel myself off the wall,” the award-winning director, actor, dramaturg, and Artistic Director of Unbridled Theatre Collective recalls. “The text and lyrics were so upfront and unapologetic – and very funny! It was incredibly exhilarating. And I knew immediately that the piece required a bold and daring approach.”
Unbridled Theatre’s brand-new staging of Stephens’ adaptation of the play at the VideoCabaret Theatre is just that: a fearless, full-throttle production boasting a “steampunk-esque” aesthetic and bristling with satire, sex appeal, and sociopolitical bite. Based on Victorian John Gay’s The Beggar’s Opera, Brecht and Weil’s The Threepenny Opera is a scathing satire that dives into the underbelly of Victorian London. The story follows seductive anti-hero Macheath, who slashes his way through the lives of lovers and lawbreakers, while Polly Peachum—once a picture of goodness—emerges as an unexpected criminal mastermind. Known for musical standards like “Mack the Knife” and “Pirate Jenny”, this gritty tale of capitalism, corruption, and class hypocrisy plays out in brothels, beggar emporiums, and seedy hotels – offering an unflinching look at power and survival.
“What I love about this 2016 adaptation by Simon Stephens is that it is more dangerous and confrontational than previous English translations,” La Selva explains. “Stephens doesn’t pull his punches with who and what his characters represent, and how they express themselves”, and the resulting “adaptation is what I imagine to be closer to what Brecht, Weill and [Elisabeth] Hauptmann originally intended: satirical, cynical and edgier.”
Setting the show inside a retro-futuristic, after-hours nightclub allowed La Selva to preserve the story’s Victorian backdrop, while updating its aesthetic and energy. “I wanted to respect Brecht’s desire to create theatre that engaged audiences in these socio-political discussions, while also creating an exciting and entertaining theatrical spectacle,” she explains. “The steampunk concept/design provides a sexy, alluring environment in which to explore the brothels and criminal underworld of the piece.” This environment also amplifies Stephens’ more feminist reimagining of key characters – particularly Polly Peachum. “She functions as the voice of reason in the play, but in earlier versions never really takes her rightful place,” La Selva notes. By contrast, “in this version, we see her evolve into a strong, powerful, confident woman – a ‘boss wife’ who ends up managing an entire criminal empire.”
The deliberate blend of visual spectacle and political charge was foundational to Brecht’s Epic Theatre – and this is something La Selva is keen to preserve, especially in this moment of accelerating and unapologetic global inequality. “The play is incredibly timely,” she asserts. “We just have to look at what is going on in the world to see how it resonates with the current political climate, especially south of the border – with the rich getting richer by denying the poor their primal needs: food, housing, health care, education and comfort.” And La Selva aims to meet the moment directly: “As a director, I am choosing to lean into this irony, and in step with Simon Stephens’ very modern adaptation, use humour and spectacle to convey these deep and disturbing messages.”
And as opening day looms, La Selva celebrates her partners in crime: a fierce ensemble of emerging artists who share her vision, and have thrown themselves bodily into the artistic and practical challenges of mounting the production: “They are trained, talented and ambitious, and all carry a strong desire to engage in meaningful work that has a social conscience,” she notes. “What impresses me most about this group is their determination as artists to create opportunities for themselves… willingly diving into the producing and administration duties that are so necessary to get any show up and running – while taking on these huge roles and knocking it out of the park as performers.”
These dynamic artists include performers Liam Armstrong, Madison Buchanan, Aria De Castro, Jacob Klick, Cameron Helmkay, Jasmine Jenkinson, Vandana Maharaj, Kaden Klodt, Sean Lee, Nicole Lynch, Chris Otchere, Rhys Parker, Joelle Salsa, Zoe Saum, and Maggie Tavares. And they are supported by an equally strong creative team: Musical Director Justin Hiscox, Set Designer Leslie Wright, Lighting Designer Mike Slater, and Costume Designer Michelle Vanderhayden.
Mounting The Threepenny Opera “has been one of the highlights of my career,” La Selva reflects. “I love coming into the rehearsal room – to be met with all sorts of ideas, questions, and musings on the work. The level of engagement and love for the craft in this group is palpable – as is each artist’s desire to do their best work every day.”
And what does she hope audiences will take away from the edgy, immersive experience of this production? “First of all, I hope that people have an enjoyable evening at the theatre!” La Selva smiles, before elaborating: “There is so much this show has to offer—Kurt Weill’s incredible jazz-infused musical score, colourful characters, a tango dance, humour, and a no-holds-barred approach to performance that will excite and exhilarate.” And with that bar met, she also hopes to prompt some reflection: “Second, I hope that in true Brechtian fashion, people will leave the theatre thinking about the themes in the play, and reflecting upon their own role in this precarious and precious world we live in.”
Unbridled Theatre Collective’s The Threepenny Opera runs May 8–17, 2025 at the VideoCabaret Theatre (10 Busy Street, Toronto). Content advisory: coarse language, and depictions of sex and violence. Tickets are available at Ticketscene.ca.
© Arpita Ghosal, Sesaya Arts Magazine 2025
