Thanks for subscribing! Look out for your first newsletter in your inbox soon!
The best of Time Out straight to your inbox
We help you navigate a myriad of possibilities. Sign up for our newsletter for the best of the city.
By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions.
Awesome, you're subscribed!
Thanks for subscribing! Look out for your first newsletter in your inbox soon!
By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions.
Awesome, you're subscribed!
Thanks for subscribing! Look out for your first newsletter in your inbox soon!
By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions.
Brecht and Weill may have sued Pabst over what they considered his manhandling of their musical (the director rewrote Brecht's script and dropped several songs), but the social satire remains thankfully intact. The story itself is preserved: in Victorian London, womanising gentleman thief Mack the Knife joins, through marriage, both the king of the beggars and the chief of police in setting up a bank. If Brecht's anti-capitalist sentiments are muted by Pabst's heavily stylised lyricism, there is no denying either the sheer visual eloquence of the sets and photography or the charismatic power of the performances, most notably, perhaps, Lenya as the whore Jenny.
By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions.
🙌 Awesome, you're subscribed!
Thanks for subscribing! Look out for your first newsletter in your inbox soon!