`Beggar’s Opera’ richly done

Theater review

There’s something deliciously naughty about presenting “The Beggar’s Opera” in Bar Harbor after the diamond-studded summer people have returned to New York.

Written by John Gay as a satirical spoof on the pompous extravagances of Italian opera and court life, the play is the perfect aperitif to a long, quiet Maine winter. Performed by the Unusual Cabaret players, Bar Harbor’s newest and most promising theatrical troupe, the show is entertaining, provocative and sophisticated.

The original “Beggar’s Opera” is a long ballad opera with 45 scenes, a large cast and numerous songs. When it was first performed in 1728, it ran for 62 performances (not consecutive, but the longest run then known) and became one of the most popular shows of its time. In 1928, Bertolt Brecht and Kurt Weill rewrote it as “The Threepenny Opera,” which also became a tremendous hit.

Gina Kaufmann, proprietor and director at the Unusual Cabaret, has touched upon yet another knockout approach to the play. She trimmed it to nearly half the scenes, shortened the songs and narrowed the focus to the relationships between the thief Peachum, his wife, their daughter Polly, her lover Macheath, his pregnant paramour Lucy and her father Lockit. The effect is like watching a video in fast forward, stopping only for the moments that really matter.

Because Kaufmann’s adaptation focuses on the love triangle between Polly, Lucy and Macheath, the number of characters is reduced from more than 20 to six, which Kaufmann has reduced further to three players, each of whom plays two roles.

Those aren’t the only daring changes; Kaufmann has chosen an all-female cast, turning the already farcical social comedy into camp. The gender guises bring new meaning to the play, and Kaufmann’s directorial commentary is as harsh on gender distinctions as Gay’s was on class distinctions.

You’d think such a skeletal plot would fall apart, but in fact the show is quite rich, fast moving and to the point. As the action goes forward and all six characters are needed on stage at the same time, the stage work becomes outrageously and wildly funny. Just before the characters become too convoluted, the show ends with a flourish.

The three performers, Cheryl Snodgrass (Mrs. Peachum/Macheath), Inger Hatlen (Mr. Peachum/Lucy) and Ruth Margraff (Polly/Mr. Lockit) show the breadth of their performing skills both as actors and singers. Snodgrass and Hatlen, in particular, have strong, reliable voices, and Margraff, whose voice is less dynamic, is, nevertheless, quite convincing and moving in her roles.

Each of the players builds distinct characters and, with no makeup, a sparse set and the minimum of props and costumes, they bring them to life with impressive force. In fact, at times there’s a bit too much force, and the busy action on stage becomes distracting. Because the actors’ facial expressions are incredibly cartoonish, they could eliminate many of the exorbitant gestures.

Musical accompaniment by Larrance Fingerhut gently and skillfully guides the scenes, but is never too obtrusive.

For a full evening, go early (any time between 6 and 9 p.m.) for the pre-show dining experience of the Unusual Cabaret restaurant, which specializes in innovative pasta, seafood and meat dishes. The atmosphere is casual and relaxed, much like a European coffeehouse. Fingerhut is also on hand at the piano, playing jazz tunes and accompanying the players as they perform a musical revue during the dining hours.

“The Beggar’s Opera” will be performed at 9 p.m. Tuesday-Thursday through Oct. 11 at the Unusual Cabaret, 14a Mount Desert St. in Bar Harbor. “Rumpelstiltskin,” an original musical written by Cabaret members Jeff Goode and Jon Price, will be performed at 9 p.m. Friday-Sunday through Oct. 13 at the Unusual Cabaret. For reservations, call 288-3306.