In With the Interns: Kristen LaCherra

Name: Kristen LaCherra

From: Long Island, NY

School: George Mason University

Long-Term Goals: I would like to work in the marketing and community outreach fields of theatre arts management, in either the DC-Metro area or New York City.

Favorite Musicals: Sunday in the Park with George, Next to Normal, Into the Woods, The Last Five Years

Favorite Plays: Who’s Afraid of Virginia Woolf? by Edward Albee, August: Osage County by Tracy Letts

Favorite Movie: The Princess Bride

Internship Start Date: January 21, 2015

Internship Duties: Assisting with the Signature in the Schools program, social media, general administrative tasks for the Education Department

Favorite Things About Signature: I love Signature’s willingness to take on new and exciting work, and how they can make any sized show an intimate experience for the audience.

Favorite Things About D.C.: I love the theatre scene down here, as well as the variety of great non-profit arts organizations.

General Cool Things About You: I have two different colored eyes and a hardcore love of Chipotle.

If you could be a superhero or supervillain, what would your superpower / ability be and what would your greatest weakness be? Could my superpower be the ability to make Chipotle burritos both free and healthy? A bit self-serving, but that would be a great service to society. My greatest weakness would be impatience (those lines would be crazy).

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Now Serving: The Diner Team

The world premiere of Diner at Signature Theatre is fast upon us and the artistic, production and administrative teams could not be more ecstatic to share this amazing show with everyone. Signature is known for its bold and brave new musicals and Diner aims to be one of the boldest and bravest yet. Taking on a landmark film such as Diner is no easy feat. As highlighted in one of our previous blog entries, the film helped pave the way for such stars as Steve Guttenberg, Mickey Rourke, Kevin Bacon and pushed for the usage of “nothing” in film and television. At the helm of this landmark production is a powerhouse team consisting of director Kathleen Marshall, writer Barry Levinson, and musician Sheryl Crow. 

Kathleen Marshall

Kathleen Marshall is a Tony and Drama Desk award winning director and choreographer. Originally from the Pittsburgh theatrical scene, Kathleen began her Broadway career as the assistant to her choreographer brother Rob Marshall and has since collaborated with him on shows such as She Loves Me, Damn Yankees and Seussical. Kathleen has gone on to direct and choreograph Broadway revivals of the Pajama Game with Harry Connick, Jr. in 2006 and Anything Goes with Sutton Foster in 2011. 

Barry Levinson

On the writing front of Diner, is none other than the film’s original director and screenwriter, Barry Levinson. Barry, a Baltimore native, brings incredible warmth and an immense supply of talent to the table. Having directed and written award winning films that have included: The Natural, Good Morning, Vietnam, Rain Man, Bugsy,Toys ,and What Just Happened, Levinson is more than seasoned enough to handle diving back under the hood of Diner.

Sheryl Crow

Last but not least, bringing up the musical and lyrical front of Diner in none other than singer songwriter Sheryl Crow. This Grammy Award winning musician is taking on a new challenge with the music and lyrics of Diner, as this is the first time she has written for a musical. However, if what we have seen and heard in rehearsals and tech is any indication, Sheryl clearly knows what she is doing. 

The creative reigns of Diner are clearly in very capable hands. With a power plant of creative energy in charge of this project, the production is sure to electrify audiences. For more information and tickets please contact the Signature Theatre Box Office at 703-820-9771 or visit the Signature website.

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Passionate Productions at Signature

Here at Signature Theatre, we are known for being bold, brash and communicative about what we want and how we want it. This passion and drive of ours compels us to create, produce and perform theatrical productions which speak to the hearts of audiences and actors. Over the past 25 years Signature has used this passion to ignite emotions both on and off the stage.

Elmer Gantry and Sex with Strangers are productions that are bursting at the seams with tension, power, passion and a more than healthy dose of lust. In Elmer Gantry, our titular character (played by the remarkably talented Charlie Pollock) must struggle between his underhanded tactics as a businessman and his feelings for the woman he loves. In Sex with Strangers, Ethan and Olivia must try to confront their often alternating passions towards one another and the writing they care so very much about. Both productions deal with "passion" in the physical and carnal sense of the word. There is a bounty of insight to be found in these moments as one observes these characters and the actions they pursue.

As Charlie Pollock sits in his role as Elmer, he must wrestle with several things throughout the show. Should Elmer commit himself to serving the Lord again after straying from his religious path? Is it possible for passion to reignite a past persona once thought lost? Are people doomed to repeat past actions or is redemption possible? Elmer struggles with all of these moments of passion and conflict and more throughout Elmer Gantry. Does Elmer ever come to a conclusion in response to any of these burning questions? Only time and seeing Elmer Gantry will answer these questions.

The enigmatic Holly Twyford and Luigi Sottile star in Sex with Strangers as writers Olivia and Ethan. The ever-present sexuality raises a wide variety of questions in regards to motivations, actions and words spoken between the two. Are the feelings Ethan and Olivia have real? Are their rendezvous from the heart or strictly a matter of business? See if you can tell the differences between moments of passion and moments of logic in this production. Do passion and clear-headed decision making have distinctively different appearances or are they one and the same? See for yourself in Sex with Strangers.

Some could say it's unfortunate that so much of the best theatre involves passion and things not going perfectly to plan. But then again, that is a fairly accurate representation of life for all of us. Not all things go according to plan in life. Other people, places and things get in the way of our own motivations and desires.

For more information on either Elmer Gantry or Sex with Strangers or tickets feel free to check out our website here or give the box office a call at 703 820 9771 for all your information needs.

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Sex with Strangers - In Regards to The Menaissance

Holly Twyford stars in Signature Theatre's
Sex with Strangers

The first show to grace the ARK stage at Signature Theatre this fall is none other than Laura Eason's, Sex with Strangers. Under the direction of Aaron Posner, actors Holly Twyford and Luigi Sottile bring this sexy, provocative and intimate play to life in the intimate theatre. The show itself explores what happens when private stories and moments between two people become a part of the public domain and the consequences.

Both Twyford and Sottile's characters, Olivia and Ethan, are writers. However, what these two characters choose to write about and their approaches to writing are distinctly different. While Olivia is more rooted in traditional approaches and topics in regards to writing, Sottile's Ethan veers away from the traditional in favor of the edgier and more modern "Fratire".

(Warning that some of the content of the attached links may not be safe for work or for younger audiences.)

The Emergance of Fratire

Fratire is a genre of 21st century literature marketed to young men in a politically incorrect and overtly masculine fashion. The title of the genre gained notoriety following the popularity of works by George Ouzounian (writing under the pen name Maddox) and Tucker Max. Described as a satirical celebration of traditional masculinity, the genre has been criticized for allegedly promoting sexism and misogyny.

The genre generally features male protagonists, usually in their mid-twenties to thirties. The style of literature is often characterized by masculine themes and could be described as the male equivalent of "chick lit." The genre was originally popularized by Tucker Max's I Hope They Serve Beer in Hell and Maddox's web page titled The Best Page in the Universe and his book The Alphabet of Manliness. 

The cover of Tucker Max's I Hope They
Serve Beer in Hell

The term fratire itself is aimed to classify male-centric books that focus on alcohol and sexual themes in regards to a younger 21st century audience. Publishers continue to push the genre as a sales tactic in hopes of driving up sales. After the initial success of books published by Maddox and Max, the media attempted to capitalize on the trend with new iterations of the word, including "lad lit," "frat-lit" and "menaissance."

Response to Fratire

Not all people are happy with the existence and emergence of fratire. Melissa Lafsky of The New York Times described the genre as "misogyny for sale." Lafsky wrote that fratire authors were profiting by fueling young male anger concerning societal demands for equality. In a Salon.com interview, Ouzounian said his writing was a nostalgic parody of old-fashioned masculinity and that society had moved too far forward to return to those concepts. 

What do you view the emergence of the fratire genre as? A regression to old-fashioned sexism "presented under the veil of irony?" A movement towards greater overall equality in media and literature?

Sex with Strangers runs October 14th to December 7th in the ARK Theatre. For more information please visit our website or call the box office at 703 820 9771. Follow Sex with Strangers on social media with #SigStrangers

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Save Me, Sister Sharon

Aimee Semple McPherson

With the recent opening of Elmer Gantry here at Signature Theatre under the direction of Artistic Director Eric Schaeffer, it is time to get into the spirit of the religious revival. The author of the 1927 novel, Sinclair Lewis, was drawn to many characters and personalities present in early 20th century America (as we mentioned in this previous post.) This fascination is evident in the leading female character in both the novel and musical, Sister Sharon Falconer (played by the talented Mary Kate Morrissey here in Signature's production.)

Aimee McPherson, also known as Sister Aimee, was a media celebrity and evangelist in the 1920s and 1930s. After the birth of her first child and death of her first husband, McPherson felt the call to preach tug at her strongly. In 1914, she fell seriously ill, and after a failed operation, feeling that either her life was at an end or she would go preach, McPherson accepted the God’s challenge to preach.

The female Pentecostal preacher was greeted with trepidation by pastors of local churches she solicited. Pentecostals were at the edge of Christian religious society, sometimes seen as strange with their loud, raucous unorganized meetings and were often located in the poorer sections of town.

McPherson, however, kept an order to her meetings that came to be much appreciated. She wanted to create the enthusiasm a Pentecostal meeting could provide, but also wanted to avoid its unbridled chaos as participants started simultaneously shouting, trembling on the floor and speaking in tongues. In contrast to Billy Sunday’s gospel of fear, McPherson spoke of a sunnier religion called the Foursquare Gospel. Her message was one of joyfulness joined with religious exultation.

  

The appeal of McPherson's thirty or so revival events from 1919 to 1922 surpassed any touring event of theater or politics ever presented in American history. Her one to four-week meetings typically overflowed any building she could find to hold them.

Aimee used the power of new media, like
 radio, to convey her message to people
all across the nation.

Aimee knew exactly how to package her message and sell it to those starving for spiritual fulfillment. Often described as the Barnum of Religion and the Mary Pickford of revivalism, Aimee preached a conservative gospel but used progressive methods, taking advantage of radio, movies, and stage acts throughout her life. (McPherson was one of the first women to preach a radio sermon and be granted a broadcast license.) By accepting and using such new media outlets, McPherson helped integrate them into people’s daily lives.

By early 1926, McPherson had become one of the most charismatic, influential and publicized women and ministers of her time. Her fame equaled Charles Lindbergh, BabeRuth and Rudolph Valentino. She was a major American phenomenon who, unlike Hollywood celebrities, could be admired by their adoring public without apparently compromising their souls.

  

McPherson's Angelus Temple in Los Angeles
California.

Following her heyday in the 1920s, McPherson carried on with her ministry but fell out of favor with the press.  On September 26, 1944, McPherson went to Oakland, California, for a series of revivals. The next morning, her son found her unconscious with pills and a half-empty bottle of capsules nearby. She was dead. Her body lay in state at her Angelus Temple over the course of three days as 45,000 people waited to file past the evangelist to say a final goodbye.

Elmer Gantry runs from October 7th to November 9th in the MAX Theatre. For more information please visit our website or call the box office at 703 820 977. Follow along with Elmer Gantry on social media with #SigGantry. 

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Stage One - Make 'Em Laugh

Evan Casey gets to the point of comedy.

Signature Theatre's Stage One 2014 Workshop got off to a quick start yesterday as our 15 students met one another and their instructors for the first time. With acting, dancing, and vocal training crammed into every days schedule, these bright and talented young people will  be working very hard over the course of the next two weeks. We can't wait to see what kind of steps they take on their artistic journies as we work with them this summer.

One of changes to this year's format with the Stage One is the inclusion of daily master classes taught by DC area theatre practitioners. These master classes will vary greatly in terms of topic and structure as the instructors come from very different parts of the performance world. ( Be sure to stay tuned to the Education Blog to get the inside scoop on who and what the Stage One students are working with and on.) 

Stage One students listen as
Evan tells them the ins and outs
of comedy.

To get the master class ball rolling, we  thought it might be a great idea to start things off on a lighter note with one of our favorite performers, Evan Casey. Evan is a DC area actor and teacher and has appeared at Signature Theatre in Company, Really Really, The Hollow, The Boy Detective Fails, Urinetown, Ten Unknowns and Allegro. Evan has performed heavily in the Washington DC area at such theatres as The Kennedy Center, Ford's Theatre, Olney Theatre, Studio Theatre, Shakespeare Theatre, Round House Theatre, Rep Stage and Theatre of the First Amendment among many others. Evan trained at Catholic University and the London Dramatic Academy and has taught extensively throughout the area.

Evan takes a moment to field a few questions.

One of the many areas in which Evan excells is comedy (This man knows how to make an audience laugh.) Throughout his master class Evan discussed and explored the concepts of comedy with the Stage One students and what differentiates comedy from a straight drama. In comedy, the stakes are higher than drama. This is because emotions are elevated and the shifts in emotions more drastic. This often leads to comedic moments because the needs of the character are great and others responses to their actions are larger than life at times. 

Other major concepts that Evan discussed with the students were the importance of specificty, clarity, and hyper awareness in comedy. The jokes and lines are written on the page in a certain way for a certain reason. A comma or period is placed in a sentence to break up a moment or insert a pause so a joke has time to land or to misdirect an audience. Evan highlighted these concepts by showing clips of Abbott & Costello's "Who's On First?", Seinfeld's "Marine Biologist" and Sweeney Todd's "A Little Priest". These clips all demonstrate these important tennants of comedy and how they are indespensible when it comes to making an audience laugh. We were so lucky to have Evan join us for the afternoon and cannot wait to see what some of the other instructors have in store for us over the coming two weeks.

On Twitter? Follow Stage One at #SigStageOne. 

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Overtures - The Casting Session

Ryan looks on as Allison audition.

People get nervous. This is a regular part of life. Day in and day out, people the world over fret and stress over a variety of things both of worth and of inconsequential value. It should be no surprise then that performers get nervous as well. 

Overtures students support one another
throughout the casting session.

Auditions can be terrifying. As a performer myself I know the stress and anxiety that goes into the preparation and over-analyzation of an audition and all it entails. There is just so much to think about and let yourself get caught up in. Am I prepared? Am I dressed appropriately? Do I have all of my headshots, resumes, and paperwork in order? Am I on time and in the right place? Are my monologues and songs memorized and in perfect order? Is my music binder neat and organized? Did the casting director like me? Was I too engaging? Did I not talk enough? Etc, etc, etc till you make yourself sick with worry.

Signature's Walter Ware II looks on
throughout the casting session.

Ashley receives a bit of feedback from
the casting panel.

The Overtures students got to experience a casting session yesterday and dealt with some of these minor worries and woes. (And made it through the session with smiles on their faces and knowledge to use in future auditions.) The session itself was made up of casting directors and producers from the DC area that included Alan Paul from The Shakespeare Theatre Company, Amelia Powell from Arena Stage, Danisha Crosby from Round House Theatre and our very own Walter Ware III.

Each and every Overtures student presented two 32 bar pieces and a short monologue to the casting panel and then received feedback on their performance, composure and how they presented themselves both on the stage and on paper. The advice was far ranging from student to student, but the lessons learned were invaluable. These talented young men and women essentially went before a, albeit supportive, firing squad of casting directors. They all presented themselves brilliantly and I am proud to have them represent Overtures this year.

This Saturday, June 28th is the final day of Overtures. With this final day comes the Overtures Showcase, where these 19 amazing people show off all of the training they have been through over the past two weeks. The performance begins at 11:00 AM in the MAX Theatre at Signature Theatre. Doors open at 10:30 AM. There will be a brief reception following the performance. The event is unticketed and free.

By Matt Strote

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Selecting a Season - Part II

With the coming year, Signature Theatre is getting ready to celebrate its 25^th Anniversary. To celebrate we have created our biggest, most dazzling and daring seasons to date. What follows in this post is a breakdown of what to expect in the second half of this coming season, some things to consider with each show, and additional resources to investigate to get yourself even more excited for the stupendous season you have coming your way next year.

Kid Victory (February 17 – March 22, 2015)

Signature Theatre very excited to present the highly anticipated and chilling world premiere musical from legendary composer John Kander and acclaimed playwright Greg Pierce in the MAX Theatre. Seventeen-year-old Luke returns home after vanishing a year ago. Profoundly changed, Luke and his parents struggle to adjust to life following his disappearance. Only finding solace with Emily, the quirky proprietor of an offbeat garden shop, Luke grapples with a past undone and a coming of age that came too late to a boy who just wants to fade away. The second collaboration between Kander (Chicago, Cabaret) and Pierce (Slowgirl), Kid Victory is a hauntingly mesmerizing original musical about what it means to disappear.

Additional resources: Kander IBDB, Kander on the passing of  Ebb, Playbill interview with Greg Pierce, and Pierce and Kander collaboration.

Story by John Kander & Greg Pierce | Music by John Kander | Book & Lyrics by Greg Pierce Directed by Liesl Tommy | A co-production with The Vineyard Theatre

Soon (March 10 – April 26, 2015)

In this wold premiere by Nick Blaemire it is the hottest summer in human history and, in a few short months, all water on earth will evaporate. In response, twenty-something Charlie has taken to her couch with only her beloved possessions: peanut butter, Wolf Blitzer, and Herschel, the fish. Her mother, roommate and sometimes-boyfriend all attempt to persuade her to leave her apartment and enjoy life. However, as Charlie’s memories take over, more complicated reasons for her self-inflicted hibernation emerge as she confronts her deferred dreams and considers the possibility of life and love just outside her door. Filled with Blaemire’s (Glory Days) trademark quirky style and reminiscent of past Signature contemporary musicals [title of show] and The Last Five Years, Soon’s youthful humor, energy and wit deliver a searing and sardonic commentary on what to do with the time you have left on the MAX stage..

Additional resources: Nick Blaemire credits, Interview with Nick Blaemire, and Nick Blaemire talks about music side projects.

Book, Music & Lyrics by Nick Blaemire | Directed by Matthew Gardiner

Simply Sondheim (April 2 – 19, 2015)

An original tribute celebrating Stephen Sondheim and Signature Theatre’s special partnership over the last 25 years. Eric Schaeffer and David Loud plays only at Signature and will never be seen again.Whether you’d like to race Into the Woods with Sweeney Todd and a few Assassins, enjoy A Little Night Music at the Follies on a Saturday Night, or simply relish a Sunday in the Park with George, you’ll be in good Company when six Signature favorites and a gorgeous 16-piece orchestra take the MAX stage to honor the genius himself, Stephen Sondheim. years. For two and a half weeks only, with special permission from Sondheim himself, this completely new revue created by Artistic Director Eric Schaeffer and David Loud plays only at Signature and will never be seen again.

Additional resources: Sondheim Website, Sondheim Guide, and Sondheim Biography.

Music & Lyrics by Stephen Sondheim | Co-conceived by David Loud & Eric Schaeffer | Orchestrations by Jonathan Tunick | Muiscal Supervision & Vocal Arrangements by David Loud | Choreographed by Matthew Gardiner | Directed by Eric Schaeffer

Cabaret (May 12 – June 28, 2015)

Willkommen to the Kit Kat Club, the hottest nightclub in seedy, prewar Berlin; here, life is beautiful. American writer Cliff Bradshaw travels to Berlin searching for inspiration. He finds it in English club performer Sally Bowles and they begin a torrid affair. However, outside their door, the nazis’ impending rise to power heralds a brutal end to their decadent way of life. Featuring the treasured songs “Maybe This Time,” “Willkommen,” “Don’t Tell Mama” and the title song, Kander and Ebb’s Tony Award®-winning masterpiece graces the Signature Theatre's MAX stage for the first time in over twenty years.

Additional resources: Berlin Photos, Kabrett, and Kander & Ebb Top 10

Book by Joe Masteroff | Based on the play by John Van Druten and stories by Christopher Isherwood Music by John Kander | Lyrics by Fred Ebb | Broadway production directed by Harold Prince | Produced for the Broadway stage by Harold Prince | Directed by Matthew Gardiner

We here at Signature Theatre could not be happier to present this stellar season to you next year to celebrate our 25th Anniversary season. Please join us in celebrating a milestone.

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Selecting a Season - Part I

Next year is Signature Theatre’s 25^th Anniversary and to celebrate we have put together one of our most ambitious, exciting, and star-studded seasons to celebrate. What follows in this post is a breakdown of what to expect in the first half of this coming season, some things to consider with each show, and additional resources to investigate to get yourself even more excited for the stellar season you have coming your way.  

Sunday in the Park with George (August 5 - September 21, 2014)

Signature launches its 25th Anniversary season with Stephen Sondheim and James Lapine’s Pulitzer Prize- winning Sunday in the Park with George. Inspired by the painting “A Sunday Afternoon on the Island of La Grande Jatte” by Georges Seurat, Sunday in the Park with George brings art to vibrant life. In the MAX Theatre, Sondheim and Lapine’s stunning masterpiece merges past and present into beautiful, poignant truths about life, love and the creation of art.Written by the team behind Into the Woods and Passion, and featuring the songs “Finishing the Hat,” “Children and Art” and “Putting it Together,” Sunday in the Park with George is a special 25th Anniversary celebration of Sondheim – Signature’s signature.

Additional resources: Complete Works of George Seurat, Art Insitute of Chicago, Neo-Impressionism at the Phillips Collection, and Mandy Patinkin and Bernadette Peters

Book by James Lapine | Music & Lyrics by Stephen Sondheim | Directed by Matthew Gardiner

Elmer Gantry (October 7 - November 9, 2014

The charismatic, but completely broke, salesman Elmer Gantry stumbles upon a struggling religious tour, led by pious evangelist Sister Sharon Falconer. Falling for Falconer, Gantry joins the troupe as a preacher and, with a little showmanship and theatrics, transforms the revival into the hottest ticket in town. However, inspired by Falconer’s earnestness and his reawakened spirit, Gantry inserts one spectacle too many and risks blowing up the entire operation. Fiery and passionate, with a rich blues, folk and gospel-infused score, Elmer Gantry brings the evangelical charlatan of Sinclair Lewis’s Pulitzer Prize-winning novel to life on the MAX stage in an adventurous new reimagining.

Additional resources: PBS Sinclair Lewis, Sinclair Lewis Books, and Elmer Gantry Theatrical Trailer

Book by John Bishop | Lyrics by Bob Satuloff | Music by Mel Marvin Based on the novel by Sinclair Lewis | Directed by Eric Schaeffer

Sex with Strangers (October 14 - December 7, 2014)

A raging snowstorm traps strangers Olivia, an unsuccessful, yet gifted, thirty-nine-year-old writer, and Ethan, a tech-addicted and wildly successful young blogger, in a secluded cabin. Opposites instantly attract, undeniable chemistry ignites and sex is imminent in the ARK theatre. As the dawn rises, however, what could have just been a one-night-stand transforms into something more complicated when online exploits interfere with their real-life connection. Starring Holly Twyford (The Little Dog Laughed), Sex with Strangers is a sexy, provocative and intimate exposé that playfully explores what happens when private lives become public domain.

Additional Resources: Chelsea Handler Book, Tucker Max, I Hope They Serve Beer in Hell Book, Assholes Finish First Book, Hilarity Ensues Book

By Laura Eason | Directed by Aaron Posner

Diner (December 9, 2014 - January 25, 2015)

Nine-time Grammy Award Winner Sheryl Crow and Academy Award-winning original screenwriter Barry Levinson makes a stunning debut with the world premiere musical adaptation of the landmark movie Diner. Christmas, Baltimore: 1959. A circle of childhood friends reunite for the upcoming wedding of one of them. Well, only if his fiancée passes a football trivia test. From the comfort of their all-night diner, the men, now in their early-twenties, confront the realities of adulthood: marriage, careers, money and the ever-mysterious opposite sex. But no matter where life takes them, they know they’re welcome back at the diner, the one place they’ll always belong. Infused with swinging 1950s rock and roll sound, three-time Tony Award®-winning director and choreographer Kathleen Marshall joins Crow and Levinson in the MAX to transform Diner’s groundbreaking evocation of burgeoning adulthood and friendship for the stage.

Additinal resources: Diner Trivia, Roger Ebert Review, and Vanity Fair Article on Diner

Book by Barry Levinson | Music & Lyrics by Sheryl Crow | Directed & Choreographed by Kathleen Marshall

We will be back soon with the other half of our season preview and guide where we will be highlighting Kid Victory, Soon, Simply Sondheim, and Cabaret.

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Mack the Knife - The Song's Back in Town

As we head into the run of The Threepenny Opera at Signature Theatre, it is slowly becoming obvious why a many guests are coming to see the show. For some people it might be the strong and talented actors that make up Signature Theatre's cast of regulars. For others it might be the strong direction by Associate Artistic Director, Matthew Gardiner. But for the rest of you, I suspect it is one particular song. Might that song be “Mack the Knife”?

Natascia Diaz in Signature Theatre's The
Threepenny Opera sings Mack the Knife.

"Mack the Knife" or "The Ballad of Mack the Knife", originally "Die Moritat von Mackie Messer", is a song originally composed by Kurt Weill with lyrics by Bertolt Brecht for their music drama The Threepenny Opera. A moritat; from mori meaning "deadly" and tat meaning "deed", is a medieval version of the murder ballad performed by strolling minstrels. In The Threepenny Opera, the murder ballad singer introduces and closes the drama with the story of dastardly Mack the Knife. (Interesting side note, Mack the Knife as a character is based on the dashing highwayman Macheath in John Gay's The Beggar's Opera, who was based on the historical English thief Jack Sheppard.)

The song was actually a last minute addition to the musical. The song itself was written and inserted just 24 hours before its première in 1928 because the actor who was playing Macheath demanded another musical number that would more effectively introduce his character. Weill intended the Moritat to be accompanied by a barrel organ, which was to be played by the singer. At the premiere, though, the barrel organ failed, and the pit orchestra had to quickly provide the accompaniment for the street singer.

The song was first introduced to American audiences in 1933 with the first English-language production of The Threepenny Opera. In the best known English translation, from the Marc Blitzstein 1954 version of The Threepenny Opera, which played Off-Broadway for over six years, the words are:

Oh the shark has pretty teeth dear,

And he shows them pearly white

Just a jack-knife has Macheath dear

And he keeps it out of sight.

A dapper and dashing Bobby Darin.

A much darker translation by Robert David MacDonald and Jeremy Sams into English was used for the 1994 Donmar Warehouse production in London (This particular translation is the one being used at Signature.) This new translation attempted to recapture the original tone of the song:

Though the shark's teeth may be lethal

Still you see them white and red

But you won't see Mackie's flick knife

Cause he slashed you and you're dead

 As a "popular" song, "Mack the Knife" was introduced to the United States by Louis Armstrong in 1956, but the song is most closely associated with Bobby Darin. Even though Darin was reluctant to release the song as a single, in 1959 it reached number one on the Billboard Hot 100 and number six on the Black Singles chart, and earned him a Grammy Award for Record of the Year.

Louis "Pops" Armstrong with his trumpet.

Other popular and eclectic covers include ones by Lotte Lenya (1955), Bing Crosby (1957), Eartha Kitt (1959) Bill Haley & His Comets, (1959), Ella Fitzgerald (1960), The Doors (1968), Peggy Lee (1977), Frank Sinatra (1984), Sting (1985), Lyle Lovett (1994), The Brian Setzer Orchestra (2000), and Michael Bublé (2004)

Bretolt Brecht's The Threepenny Opera runs from April 22nd - June 1st at Signature Theatre. Call 703 820 9771 for tickets and showtime information.

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