Polly (The Heartbreak Opera) review

The seed of this play comes from the retelling of an almost forgotten 18th Century novel based on Polly a sequel to John Gray’s The Beggar’s Opera (both of which we had neither heard or read about…. Not so cultured after all!).  This updated version of the Opera is the collaboration between Marie Hamilton and Sharp Teeth Theatre, directed by Stephanie Kempson.

Polly (The Heartbreak Opera). © Chelsey Cliff.

With no Arts Council funding, the tenacity taken by the cast and crew to bring such a challenging piece of theatre to life is commendable. The play is a rom com of sorts and uses music which should be familiar from the likes of Nina Simone, Britney and Lady Sovereign, with altered lyrics to fit the narrative. Songs such as You’re So Pretty When You Cry and the final Solidarity Song.

In this version Macheath is now a pirate and Polly Peachum is the tragic heroine in search of her beloved Captain Macheath. We begin at a doomed wedding with three brides, end up on ship and then in the Caribbean.  A tale of doomed love, betrayal and ending with feminist resistance.

Polly (The Heartbreak Opera). © Chelsey Cliff.

The narrative complexity of the play is expertly guided by an androgynous and dapper narrator performed by Madeleine Shann as The Poet. With slightly feline mannerisms and a soothing voice she stood out from the group with her singing contributions. Her appearance was somewhat a reminder of the Emcee in Cabaret.

Genevieve Sabherwal as Polly Peachum was perhaps the least appealing character. A needy, female people pleaser chasing down her Loser Man.

For our liking, the first half should have been closer to the mark in the comic/funny stakes to get us onside and open to the more serious message which was delivered in the second half.  The overall audience enjoyment increased in the second half of the opera in no small part to actress Sedona Rose. Her body language and delivery were on point throughout and even the subtlest of gestures or glance would merit a giggle, if not a laugh out loud moment. As Mayor Ducat she was a triumph - looking eerily similar to Boris Johnson, wearing Union Jack budgie smugglers (think Spice Girls), a trademark dishevelled blonde wig and unattractive tan lines on pasty English legs was a very comedic vision indeed. Her appearance paired with her performance ensured we received the laughs we needed more of in the first half. 

Polly (The Heartbreak Opera). © Chelsey Cliff.

Marie Hamilton (who in real life is pregnant) plays both Lucy Lockett and the male Macheath. An amusing combination as her pregnancy belly mind-blowingly fit both scenarios of pregnant bride and Macheath’s beer gut (also endowed with a huge phallus packed into his cycling shorts). I doubt we will ever see better use of pregnancy in theatre again.

The play was very much progressive, fringe theatre, which is not for everyone, but the writers have, in this performance, found a way to perform an amusing take down of historical repression of women, men in power, colonial wrongs and “bad” men like Macheath, ending the musical play in seething rage with The Solidarity Song.

FLO London pre-theatre recommendations: 

For this play we headed to The Pleasance Theatre, an exciting fringe theatre in a building which was once the Timber store for the London Omnibus Company and have kept many original features. It is another wonderful small London theatre with a well-appointed cosy bar.  Should you wish to dine nearby the old warehouse adjacent is now The Depot, a high roofed pub serving pizza, burgers or steak. We found a home style Ethiopian restaurant Kokeb, a short walk from the theatre. Pre-theatre we were the only customers, but it is run by a lovely woman who seemed to be operating the establishment solo. For the uninitiated to Ethiopian food she takes great care in explaining and guiding your choices to get the best experience.  Certainly worth a try if you are an adventurous foodie.

Words by Natascha Milsom