Word: brecht
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...Bertolt Brecht, who plucked plots from Shakespeare, Moliere and Farquhar, reportedly said the best writers never borrow; they always steal. Brecht's error was limiting his dictum to the best writers. The rest are equally ready to find inspiration where someone else found it before. This is especially true of writers of musicals: attempts at original stories have become all but unheard of. With six weeks left, the '80s have yet to yield a noteworthy American musical not derived from another source, whether fiction (Big River), folklore (Into the Woods), movies ("Nine") or a painting (Sunday in the Park with...
When Bertolt Brecht created his legendary Mahagonny, that "City of Nets" where every pleasure is for sale, he neglected to specify exactly where it was. It was originally thought to be the Nazi-threatened Berlin of the 1920s, but the libretto that he wrote for Kurt Weill's most ambitious opera, The Rise and Fall of the City of Mahagonny (1930), seems to be set on a wildly imaginary Florida Gold Coast. But to Jonathan Miller, the gifted British director who was commissioned to stage a new Mahagonny at the enterprising, young Los Angeles Music Center Opera, there could...
What gave him that idea was Kafka's Amerika. "I was thinking about how he and Brecht and others saw America. Obviously, they got their ideas from the movies, the Keystone Kops, Chaplin. You think of these guys sitting in poky little movie houses in Central Europe in the 1920s watching these flickering images. As far as they were concerned, everything in America was all in the same place. You rode down Fifth Avenue straight into Monument Valley...
There is a nice irony in Brecht's ferocious parable of capitalist greed playing in the Dorothy Chandler Pavilion, that pillared temple of capitalist philanthropy. The parable itself, though, is rather silly. Brecht was a brilliant playwright and poet, but his ideas were pure Stalin-era blustering. As a viewer sits watching the hero Jimmy get executed for having been unable to pay his bar bill, he can only marvel at the gorgeous music Weill provided for this nonsense...
...first time around, Sweeney Todd, the gruesome tale of a deranged barber who slits customers' throats and a pragmatic landlady who bakes the victims into meat pies, was a Victorian penny dreadful by way of Brecht. Everything imitated him: Hugh Wheeler's book, Stephen Sondheim's score, Harold Prince's staging and even the set, which resembled an iron foundry; it hissed and clanged of the dehumanization of the Industrial Revolution. Audiences in 1979 flinched at the spewing blood and spoken bile: it seemed there had never been so cynical a musical...