It is often said that one must shed the layers to reach the true essence of a story. Doing so requires courage and a genuine desire to act, perform, and create.
Rise and Fall of the City of Mahagonny, written by Bertolt Brecht and Kurt Weill, addresses delicate subjects that remain highly relevant today. With the impressive chorus of the English National Opera and director Jamie Manton’s thoughtful vision, the production is raw and unapologetic, though at times it feels a bit safe.
The story follows three criminals in America who found a city called Mahagonny, designed to attract people eager to spend their money in a supposed paradise. As the city grows, Jenny, a prostitute, arrives, followed by Jim and his friends, who ultimately fall victim to corruption, greed, and violence.
Rise and Fall of the City of Mahagonny is a story of social collapse, the power of money, and the lengths people will go to for wealth. The opera explores the consequences faced by those who choose to sell their morals for the so‑called “perfect life.”
Jamie Manton directs Rise and Fall of the City of Mahagonny with a creative collision of Brechtian ideas. He employs Brecht’s didactic techniques, curates the chorus convincingly, and makes full use of both the large stage and the theatre’s unique spaces, as well as the sizable cast.
Milla Clarke’s impressive design work – through the colour palette, set, and costumes – combined with Manton’s composition and stagecraft, kept me engaged and attentive throughout. The use of the stalls gave a fresh perspective to modern opera.
Mrs Clarke, your work was a highlight of the production.
The cast overall was solid, with some standout performances. Danielle de Niese was captivating as Jenny Smith, and together with her co‑star Simone O’Neill, they propelled the story forward.
The show was long and occasionally tested the audience’s attention span, with several intense moments that sometimes led to fatigue. The fight scenes were weak and, at times, the performances became overly dramatic, drifting from Brechtian style into melodramatic pantomime.
I admire the decision to bring Rise and Fall of the City of Mahagonny back to the stage; it takes courage, and it has changed my perception of ENO compared to my previous review of HMS Pinafore. However, the production still felt safe, catering to the regular, older ENO audience rather than taking bold risks.
If we understand how pivotal this moment is for opera, we must prioritise modern approaches to performance, take chances, and embrace a bit of creative chaos.
Rise and Fall of the City of Mahagonny is a solid production for audiences young and old. It is a breath of fresh air, telling a timely story without forcing modernity, yet lacking boldness. It’s visually stunning and thought‑provoking, essential and very much needed.
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