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from page 73

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248-855-8429
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(Sunday brunch from 12-3)

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A division of Epoch Restaurant Group—Michigan's:Premier Dining Company

Oeitletit:05 C

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Oliverio's

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2002

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Entrees are now
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Enter rear • Valet parking

Bernard Shaw's play about the rela-
tionship between a British flower seller
and the elocutionist who decides to
pass her off as a lady. They failed to
find an approach to the adaptation
and separated, then reunited two years
later and tried again.
But it was not until March 15,
1956, that My Fair Lady opened on
Broadway. Starring Rex Harrison and
Julie Andrews, it was the triumph of
Lerner and Loewe's partnership, win - -
ning the Tony Award for best musical,
running an unprecedented 2,717 per-
formances, and spawning a chart-top-
ping multimillion-selling cast album.
The Threepenny Opera, written by
Bertolt Brecht (book and lyrics) with
music by Kurt Weill, is the other musi-
cal this season. Set in London's demi-
monde in the 1830s, the darkly irrev-
erent song-play is a scathing indict-
ment of society during the 1920s.
It was Weill's eclectic music that was
largely responsible for the show's suc-
cess.
Kurt Weill (1900-1950) was born in
Dessau, Germany, the third son of
four children to Albert Weill, a cantor,
religious teacher and composer, and
his wife, Emma.
Although Weill abandoned the
Jewish faith early in his adult -life, he
was brought up as an Orthodox Jew.
The influence of this upbringing can
be seen in almost all his early music
and was to reappear, reawakened by
the experiences of the early 1930s, in
some of his later works.
Weill became acquainted with avant-
garde German poet and dramatist
Bertolt Brecht, and in the late 1920s,
they began working on a modern ver-
sion of John Gay's 18th-century play,
The Beggar's Opera, which had satirized
society as well as the then-fashionable
Italian opera.
The resulting Threepenny Opera
mocked virtually all aspects of modern
culture and incorporated musical styles
ranging from jazz and cabaret to
operetta and vaudeville.
No other composer so successfully
blurred the boundaries between opera
and musical theater, as evidenced by
Weill's later scores for Lost in the Stars
and Elmer Rice's Street Scene.
Weill, who had fled Nazi Germany
in 1933 and immigrated to America in
1935, died of a heart attack shortly
after his 50th birthday.
Although Threepenny Opera was a
failure with critics in its American
debut in 1933, a 1954 revival — in an
English adaptation by composer Marc
Blitzstein — ran for six years and
became one of the most successful