In the current Roundabout Theater Company production of The Threepenny Opera, directed by Scott Elliott, the main character, the one who is the most fun, who keeps us enchanted, is not Macheath, played grimly, without spark, humor or charm by Alan Cumming. It's Mr. Peachum, played with dash, flash, splash and panache by a dancing, singing, wriggling, wraggling Jim Dale. And Ana Gasteyer's strong performance is close behind.
Nellie McKay's Polly is clear, firm, comedic and enjoyable too. And the tall, charismatic counter-tenor Brian Charles Rooney's soprano renditions and comic timing bring much-needed life to the production as they try for a German Expressionistic look and tone.
There is little unity in the production (everyone has a different accent, different rhythm) as we wait for Jim Dale to reappear to entertain us again. John Gay's Beggar's Opera, the source for the show, was a romp. So were other renditions of The Threepenny Opera. This mean-spirited Macheath could never attract all the women that the character does, and basically this production is not a romp. I didn't really care that the SOB was released at the end. They should have hanged the bastard.
I did like the set by Derek McLane, with its imaginative use of neon signs and announcements. The lighting by Jason Lyons and Isaac Mizrahi's costumes were just fine. But that's not what I came to see.
