Better known by his works made in tandem with Bertolt Brecht, Kurt Weill’s exile compositions are seldom performed today. Street Scene premiered in Broadway in 1947 and, despite being one of his most ambitious works, is a true rarity nowadays. Weill condensed his decade-long experience in Broadway in an “American opera” that tried to put forward a new musical idiom, combining dialogues, closed numbers and arias in a dramatic continuum. As the stirring line that opens and closes Act 1, Street Scene is like a marble and a star: Weill took the hard-bitten detail of everyday life and blurred it into the short-lived dreams of Broadway, refining the starkly cynical discourse of his German works and distilling it into a bitter stream of despair. Musical theatre is a topic in itself, almost a leitmotif symbolising the empty cheerfulness and broken fantasies of the characters. As in Elmer Rice’s play, the ostensible plot (the murder of Anna Maurrant by her husband) seems only a pretext for depicting with absorbing realism the vibrant life of a New York neighbourhood.
For vindicating this foundational title, the Teatro Real has refurbished and upgraded John Fulljames’ production for The Opera Group and the Young Vic that won an Evening Standard Award for Best Musical in 2008, in a new co-production with Opéra de Monte-Carlo and Oper Köln. In this new version, Dick Bird’s sets have expanded to a massive three-storey fire escape that leaves the flats' interiors interestingly exposed. Although any visual reference to brownstone East Side Manhattan is lost, this is an agile solution to the constant entrances and exits and James Farncombe’s brilliant and gripping lights compensate the initial lack of contrast and atmosphere. A few abstract elements, like the red hot pipe that leads to the Maurrants’ flat and the glittery skyline of the Naked City that shows behind the house, together with light-hearted choreographies in the Broadway numbers, break with the otherwise realist visuals and contribute to an enticing show.
Overall, everything was well executed but lacked the level of energy that Street Scene's frantic stage rhythm requires. The same could be said of the orchestra, conducted by Tim Murray, which played with the necessary pulse but sometimes lacked the vernacular flavour and light touch of this eclectic score. As voices were fully amplified, the orchestra did not need to care about volume and was able to explore the full dynamic range of Weill's orchestration.