Backstage Christchurch - Theatre ReviewsNEW REVIEW
Belinda Cullen-Reid takes a weird trip into the sewage system of opera and comes out smelling of roses - or is that gin?
The Deadbeat Opera
Free Theatre Christchurch
The Pump House
Tuam Street, Christchurch
Directed by Peter Falkenberg
Reviewed by Belinda Cullen-Reid
6 Sep 2024
Stepping into The Pump House in Phillipstown for The Deadbeat Opera felt like entering a time warp into the Industrial Revolution. The historic venue, once central to Christchurch’s earliest sewage system, was the perfect setting for this unique mash-up of John Gay’s The Beggar’s Opera (1728) and Bertolt Brecht’s The Threepenny Opera (1928). As characters in full theatrical mode greeted us outside the venue, it was clear this was going to be more than just a regular night at the theatre.
The Deadbeat Opera, directed by Peter Falkenberg, drew inspiration not only from these classic works but from a range of contemporary music, including music by Kurt Weill, along with the likes of Patti Smith, and Tom Waits. The result was a curious and captivating blend of eras and genres.
The set itself reflected this chaotic mixture: a small central stage, slightly askew, with musicians playing dual roles as actors, and multi-level steps stretching up the back wall. Every element felt intentionally off-kilter, reflecting the disorienting world we were about to inhabit. The venue was a central character in the story.
The choreography mirrored this sense of brokenness. The actors at times moved like mechanical music dolls, winding down and malfunctioning, echoing the twisting and distorted music that filled the space. It was unsettling, yet utterly engaging.
The performances were equally bizarre and wonderful. Aaron Boyce as Peachum was fully committed to his snarling and snorting portrayal, while Heather McFarlane as Mrs. Peachum balanced a lack of poise with vocal sumptuousness. Hester Ullyart as McHeath was charmingly roguish, but it was Sarah Clare Judd as Polly who stole the show with her powerful voice and strangely compelling presence.
The rest of the cast formed a wonderfully eclectic rag-bag of characters, each adding to the peculiar charm of the production. From scoundrels to misfits, every performer embraced their oddities, creating a richly textured world full of eccentric personalities. Together, they brought to life a true cabinet of wonders, where the absurd was celebrated.
At halftime, an elderly man remarked to his wife, “It’s very weird. I wouldn’t know who to recommend it to!” My reaction? You need new friends! This production thrives on its weirdness and creativity, making it a must-see for anyone who enjoys immersive, unconventional theatre. Peter Falkenberg’s direction embraces the unusual, and the eccentric cast delivers a performance fit for any house of curiosities.
With The Deadbeat Opera running until the 21st of September, I’ll be returning for a second round. If you’re a fan of the strange and wonderful, you’d be a fool to miss this show!
Belinda Cullen-Reid takes a weird trip into the sewage system of opera and comes out smelling of roses - or is that gin?
The Deadbeat Opera
Free Theatre Christchurch
The Pump House
Tuam Street, Christchurch
Directed by Peter Falkenberg
Reviewed by Belinda Cullen-Reid
6 Sep 2024
Stepping into The Pump House in Phillipstown for The Deadbeat Opera felt like entering a time warp into the Industrial Revolution. The historic venue, once central to Christchurch’s earliest sewage system, was the perfect setting for this unique mash-up of John Gay’s The Beggar’s Opera (1728) and Bertolt Brecht’s The Threepenny Opera (1928). As characters in full theatrical mode greeted us outside the venue, it was clear this was going to be more than just a regular night at the theatre.
The Deadbeat Opera, directed by Peter Falkenberg, drew inspiration not only from these classic works but from a range of contemporary music, including music by Kurt Weill, along with the likes of Patti Smith, and Tom Waits. The result was a curious and captivating blend of eras and genres.
The set itself reflected this chaotic mixture: a small central stage, slightly askew, with musicians playing dual roles as actors, and multi-level steps stretching up the back wall. Every element felt intentionally off-kilter, reflecting the disorienting world we were about to inhabit. The venue was a central character in the story.
The choreography mirrored this sense of brokenness. The actors at times moved like mechanical music dolls, winding down and malfunctioning, echoing the twisting and distorted music that filled the space. It was unsettling, yet utterly engaging.
The performances were equally bizarre and wonderful. Aaron Boyce as Peachum was fully committed to his snarling and snorting portrayal, while Heather McFarlane as Mrs. Peachum balanced a lack of poise with vocal sumptuousness. Hester Ullyart as McHeath was charmingly roguish, but it was Sarah Clare Judd as Polly who stole the show with her powerful voice and strangely compelling presence.
The rest of the cast formed a wonderfully eclectic rag-bag of characters, each adding to the peculiar charm of the production. From scoundrels to misfits, every performer embraced their oddities, creating a richly textured world full of eccentric personalities. Together, they brought to life a true cabinet of wonders, where the absurd was celebrated.
At halftime, an elderly man remarked to his wife, “It’s very weird. I wouldn’t know who to recommend it to!” My reaction? You need new friends! This production thrives on its weirdness and creativity, making it a must-see for anyone who enjoys immersive, unconventional theatre. Peter Falkenberg’s direction embraces the unusual, and the eccentric cast delivers a performance fit for any house of curiosities.
With The Deadbeat Opera running until the 21st of September, I’ll be returning for a second round. If you’re a fan of the strange and wonderful, you’d be a fool to miss this show!
