ENO's Mahagonny: A Big, Brash Staging of Brecht and Weill's Dystopian Opera
In a bold and thrifty new production at the London Coliseum, the English National Opera (ENO) presents The Rise and Fall of the City of Mahagonny, Kurt Weill and Bertolt Brecht's opera that explores exploitation and greed in a desert dystopia. Directed by Jamie Manton, this staging manages to feel both substantial and resourceful, despite the company's well-known financial challenges.
Trashy Aesthetic and Substantial Design
Manton's production embraces a trashy aesthetic that cleverly mirrors the opera's themes. Milla Clarke's set design opens up the full breadth and depth of the Coliseum stage, creating an almost immersive experience. The set centres on a huge container and reuses elements from past ENO productions, while costumes appear as if sourced from a charity-shop sweep, fitting perfectly with the opera's gritty tone.
The staging is big and brash, with Brechtian influences that invite the audience into the performers' world. Office-wearing tourists, representing sucker visitors to Mahagonny, make their first appearance like extra audience members, lined up in aisles and standing in boxes, blurring the lines between stage and spectator.
Sparky Touches and Uneven Moments
While the opera itself has its longueurs, Manton's production includes sparky touches that keep the energy high. A human megaphone, dressed in white like an alien with a conical collar, announces each scene, adding a quirky element. A tap-dancing hurricane limbers up passive-aggressively before threatening the townspeople, showcasing Lizzi Gee's inventive choreography.
Gee's work also shines in numbers involving treadmills, as characters trudge towards Mahagonny, including the famous Alabama Song. This piece, popularised by David Bowie and the Doors, is delivered with flair by Danielle de Niese, who brings star quality to the role of Jenny, the tart with a deceptively cold heart.
Standout Performances and Musical Excellence
Danielle de Niese benefits from subtle amplification, enhancing her powerful portrayal of Jenny. Simon O'Neill delivers Jimmy MacIntyre's lines with a Wagnerian intensity, while Elgan Llŷr Thomas sings elegantly as Jack, even in scenes of gluttony. Rosie Aldridge impresses as the formidable Widow Begbick, and Jeremy Sams' English translation is razor-sharp, adding clarity and wit.
In his debut as ENO's music director designate, André de Ridder energises the orchestra, but the true stars are the chorus. Onstage for most of the performance, they nail Weill's tricky ensemble writing with a conviction that few opera choruses worldwide could match, highlighting their need for greater job security.
Relevance and Reflection
First staged in Berlin in 1930, Mahagonny reflects a world not so different from today, with themes of greed and exploitation resonating strongly. Manton avoids obvious parallels to contemporary figures like Trump and Vance, instead focusing on the joke being on us, the audience, as we witness the sucker tourists' plight.
This production runs at the London Coliseum until 20 February, offering a timely and engaging take on a classic opera that balances thriftiness with artistic depth.
