Page 8 - The Michigan Daily - Thursday, April 19, 1990 WISEMAN Continued from page 5 pital staff present. One man diag- nosed as a paranoid schizophrenic consistently begs to be released, say- ing that conditions at the hospital are making him sicker, but is instead prescribed tranquilizers. By order of the Supreme Judicial Court of Massachusetts, "Titicut Follies may be be shown only to legislators, judges, sociologists, so- cial workers, doctors, psychologists, students in these or related fields, and organizations dealing with social problems of custodial care and men- tal infirmity." But anyone seeing the film doesn't need a degree in any- thing to understand that the condi- tions at the hospital were unbear- able. TITICUT FOLLIES will be shown. tonight at 7 and 8:45 p.m. at Ilillel, 1429 Hill Street. The event is spon- sored by the Undergraduate Psy- chological Association. NEAR DEATH will have its local premiere this Sunday at 3 p.m. at the Michi- gan Theater. Frederick Wiseman will speak and answer questions after the screening, .which includes a dinner break. Student tickets are $5, available at Ilillel. Threepenny remains popular by Beth Colquitt IT might seem repetitive, the Mu- sical Theatre Program's producing Bertolt Brecht's Threepenny Opera right on the heels of the Brecht Company's excellent production of the same play last year. But this is not inconsistent with the play's his- tory of popularity. From the time it opened, John Gay's Beggar's Opera - from which Brecht drew most of Threepenny Opera - was revived annually until the end of the 18th century in London's West End. Threepenny has been recently revived on Broadway, with Sting in the role of Macheath. There are many who will be set on ear by the University's produc- tion of Threepenny Opera. Despite the play's necessary transformation from its ideal small setting in a the- ater about the size of the Residential College auditorium to the large, im- personal Power Center, director Dona Vaughn tries to remain true to Brecht's original purposes and the- atrical concepts. "It is a challenge," she says, "to put Brecht in a theater the size of the Power Center." How- ever, she says she intends to surprise the audience with some new faces, actors and singers not usually known for standard acting or singing roles. The result should be a production that is faithful to Brecht's idea of epic theatre - to constantly remind the audience that they are watching a play requiring thought and reflection even during the performance. Vaughn is also following the original Broadway production in giv- ing the marvellously cynical song "Pirate Jenny" to the character Jenny Diver instead of Polly Peachum, for whom the song was originally scripted. Vaughn is substituting a song from The Beggar's Opera in its place for Polly to sing. "The song is really wonderful and fits right in with the rest of Weill's score," says Vaughn. Threepenny Opera was updated by Brecht from Gay's satire on the Italian opera, which was considered haute couture in the early 18th cen- tury. Brecht's version was a satire on the bourgeois society of 1928 Weimar Republic Germany. Instead of showing the vice inherent in the middle and upper class of a society by merely poking fun at it, Brecht turns the idea on its head. He makes the lower classes, in all their knav- ery and monstrosity, claim the airs and manners of the middle classes. Yet the underlying message remains, that everything is a commodity. In the set design there are ges- tures which are intended to decrease the space and heighten the intensity of the situation. Dominating the back wall, for example, is a large, industrial size window, representing, says Vaughn, "in Victorian London, the coming of the industrial age which looms over Soho." She adds, "as we go deeper into the story, the costumes have less color, and the light gets whiter and colder. The set is not quite centered, to give the audience the idea that things are not quite right here." Vaughn has hopes that the audi- ence's initial surprise upon seeing her "new faces" and her adherence to James Ludwig plays Mack the Knife and Andrea Trebnik plays Jenny in the Musical Theatre Program's production of Threepenny Opera. Brecht's ideals of anti-illusionist and distanced theater will be favorable, despite the intent of grating enough for audiences to sit up and notice. Knowing Threepenny Opera, its charm will surely do the trick for the second year in a row. THREEPENNY OPERA is playing tonight, tomorrow and Saturday at 8 p.m. and Sunday at 2 p.m. at the Power Center. Tickets are $7 and $10, available at the League Ticket Office. ,, Take a walk through the seamy side of London. The Threepenny Opera, a startling, uncompromising play with music, takes you to a sordid world ruled by Mack the Knife -- thief, con artist, and well-known scoundrel. Kurt Weill's jangly, vital music and Bertolt Brecht's stinging social commentary spin a tale of greed and corruption that still captivates contemporary audiences. THE THREE PENNY OPERA Directed by Dona D. Vaughn Musical Direction by Jerry DePuit Choreography by Tim Millet Conducted by Robert Debbaut" U Musical Theatre Program Power Center Apr. 19, 20, 21 at 8 pm; Apr. 22 at 2pm. A r 22 a 2 p m=Tickets are $10 and $7; Call 764-0450 or 763-TKTS. Student seating is $5 with ID at the League Ticket Office in the Michigan League. GET IT!I I. 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