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Theater Review: 'LoveMusik'

Lenya, Weill and Brecht

By Judd Hollander
Special to The Epoch Times
May 25, 2007

'LoveMusik' explores the relationships between actress/singer Lotte Lenya (Donna Murphy), composer Kurt Weill (Michael Cerveris), and director/playwright Berltolt Brecht (David Pittu). (Carol Rosegg)
"LoveMusik" explores the relationships between actress/singer Lotte Lenya (Donna Murphy), composer Kurt Weill (Michael Cerveris), and director/playwright Berltolt Brecht (David Pittu). (Carol Rosegg)


NEW YORK— LoveMusik tells of the tumultuous relationship between composer Kurt Weill (Michael Cerveris) and actress/singer Lotte Lenya (Donna Murphy).

With a book by Alfred Uhry and suggested by the letters of Weill and Lenya, it's an interesting tale to be sure, with the text hitting all the various high points. However, the piece is written so much by the numbers (a. this happened, then, b. this happened) that it never really takes off.

The story starts in 1924 Germany where Weill meets and is instantly attracted to housemaid Lenya. She soon moves in with him and certain boundaries are quickly established. He can take care of her, she can stay with him (while working on the street), but neither can get too close or let their true feelings for the other emerge. From there, the play documents Weill's stormy partnership with Berltolt Brecht (David Pittu), which led to the landmark "Three Penny Opera" and which made Lenya a star.

However the couple's world collapses with the rise of Hitler, forcing them to flee to France and then America. But while Weill was always working (on Broadway and in films), Lenya's career stalled, with little work except what Weill would create for her. This led to a gulf between the two which remained until Weill's death in 1950. It was only then that Lenya was able to restart her own career, ironically, through her interpretations of Weill's work.

Both Cerveris and Murphy are good in their roles, but are so busy layering their characters with surface angst and feigned indifference that we never get to see who they are inside. Weill may care passionately about his music, and Lenya may worry about her career, but neither ever really comes alive or connects with the audience. (Unlike Pittu who is brilliant in the role of Brecht.)

The score is pleasant enough, but after a while Weill's tunes start to become monotonous. The show also needs to move faster, with Harold Prince's direction not giving the work the guidance and strong pacing it requires. There's a lot of interesting material to work with, but the end result can be tough-going for those who are not really interested in the principals.

Also in the cast are John Scherer, Judith Blazer, Herndon Lackey, Rachel Ulanet, Ann Morrison, Erik Liberman, and Graham Rowat.

LoveMusik
Presented by the Manhattan Theatre Club
Biltmore Theatre
261 West 47th Street Tickets: 212-239-6200, 800-432-7250 or www.telecharge.com
Closes: June 24

Judd Hollander is the New York correspondent for the London publication THE STAGE.

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