The Threepenny Opera

Bertolt Brecht’s The Threepenny Opera (Die Dreigroschenoper) is a work of 20th-century theater that merges social critique with musical storytelling. The play was first performed in 1928 at Berlin’s Theater am Schiffbauerdamm. The Threepenny Opera is an adaptation of John Gay’s 18th-century The Beggar’s Opera, reimagining and recontextualizing its themes of corruption, crime, and economic survival into a satirical condemnation of capitalism in Weimar-era Germany that explores Corruption as a Universal Constant, The Fragile Nature of Power, and The Futility of Human Aspirations. 

Though traditionally credited to Brecht, the script owes much to the contributions of Elisabeth Hauptmann, who first translated Gay’s work into German and played a crucial, though often overlooked, role in shaping the text. Composer Kurt Weill enriched the production with a jazz-inflected score that redefined the possibilities of musical theater. The play narrates the story of the protagonist, Macheath, a war veteran and gangster, as he marries the daughter of the chief peddler of a local begging ring and almost gets sentenced to hanging by the equally corrupt policemen. The play was developed under intense time constraints, with multiple revisions and last-minute additions, including its most famous number, the Moritat von Mackie Messer (“Mack the Knife”).

This guide is based on the Bloomsbury 2022 eBook edition, translated by Ralph Manheim and John Willett, which includes Brecht’s notes and commentary on the play’s development.

Content Warning: The source material and guide feature depictions of graphic violence, physical abuse, gender discrimination, cursing, death, and the sexual abuse of a child (specifically, the “seduction” of underage girls).

Plot Summary

A bustling fair in Soho teems with beggars, thieves, and sex workers. A ballad singer introduces the infamous Macheath, or “Mac the Knife.” The song recounts his crimes—murder, theft, and arson—and contrasts his suave demeanor with his brutality. Despite the destruction he leaves behind, Macheath remains free, vanishing into the crowd as the song ends.

Meanwhile, Jonathan Peachum, who runs a begging ring in London, starts his day with a hymn about human selfishness. He explains that his business thrives on pity, though society’s indifference makes it harder. A man named Charles Filch arrives seeking help, and Peachum forces him to join his begging network. Peachum then questions his wife about the whereabouts of their daughter, Polly, and learns she has been spending time with a man known as “the Captain.” Realizing this is the notorious Macheath, he panics, fearing that his daughter’s marriage to a criminal will jeopardize their business. He and Mrs. Peachum resolve to investigate Polly’s actions, lamenting her recklessness in song.

Macheath and Polly celebrate their unconventional wedding in a decaying Soho stable. Macheath’s gang transforms the space with stolen furniture, while Polly struggles to reconcile romance with Mac’s criminal world. Macheath scolds his men for unnecessary violence, preaching about professionalism. As the gang presents stolen gifts to the newly married couple, Polly sings “Pirate Jenny,” a ballad about a downtrodden girl who eventually gets her revenge. Their wedding is interrupted by Sheriff Tiger Brown, an old friend of Macheath’s, with whom he has a corrupt alliance. They reminisce about their army days, singing “The Cannon Song.” Afterward, Macheath and Polly reflect on their love amid chaos.

When Polly returns home and announces her marriage, Mrs. Peachum is outraged, while Peachum fears Mac’s influence over their business. As Polly defends her love, beggars arrive complaining about diminishing gains and the poor props Peachum outfits them with. Peachum scolds them for failing to evoke pity and dismisses them. He urges Polly to divorce Macheath, but she refuses. Peachum and Mrs. Peachum plot to have Macheath arrested and hanged. Polly warns of Mac’s friendship with Sheriff Brown, but Peachum remains determined.

Polly later warns Macheath that her father has arranged for his arrest. Macheath, unfazed, insists there’s no real evidence against him. Though Polly urges him to flee, he instead organizes his gang’s operations. Eventually, realizing the risk, he decides to leave, appointing Polly as his temporary replacement. She reluctantly accepts, determined to prove herself, though she worries about his fidelity. When Macheath announces his departure, the gang hesitates to accept Polly’s leadership, but she silences their doubts.

Mrs. Peachum meets Low-Dive Jenny, a sex worker and offers her 10 shillings to betray Macheath. Jenny doubts Macheath will visit the brothel while being hunted, but Mrs. Peachum insists he won’t resist his usual habits. She sings “The Ballad of Sexual Obsession” about men’s desires and the burdens placed on women. Jenny, despite her initial hesitation, is persuaded to betray Mac.

Macheath arrives at a Turnbridge brothel despite being hunted. He dismisses his arrest warrant and requests coffee. Jenny reads his palm, warning of betrayal by a woman whose name starts with “J.” Secretly, she leaves to summon the authorities. As Macheath reminisces about their past, they sing “Ballad of Immoral Earnings,” recalling their turbulent relationship. Suddenly, Mrs. Peachum arrives with a constable named Smith, and Macheath attempts to escape but is captured.

Sheriff Brown, torn between duty and friendship, avoids facing Macheath, who is now imprisoned in the Old Bailey. Macheath bribes the warder for leniency and sings the “Ballade of Good Living,” which mocks virtue and celebrates indulgence. Lucy Brown, the sheriff’s daughter, is revealed as one of Mac’s lovers. She confronts Macheath about his marriage to Polly but still offers to help him escape. However, when Polly arrives, claiming him as her husband, the two women insult each other. Lucy proves her claim by revealing her pregnancy. Mrs. Peachum drags Polly away while Lucy aids Macheath escape the prison.

Meanwhile, as Peachum prepares to disrupt the queen’s coronation with a beggars’ protest, Filch tells him that Macheath’s former lovers demand payment for betraying him. This prompts Peachum to alert the police. Tiger Brown arrives to stop the demonstration, but Peachum threatens chaos unless Macheath is arrested. Brown, fearing scandal, agrees. Jenny confirms Mac’s location, and Brown orders his capture.

Polly visits Lucy at the Old Bailey, seeking reconciliation. Polly apologizes, claiming Lucy is Macheath’s true love. They discuss Mac’s deception, and Polly questions his sincerity. As they bond, Lucy confesses that her pregnancy was fake. They joke, and Polly offers Macheath to Lucy as a gift if she finds him. Their moment is interrupted when police capture Macheath again, and Polly collapses in despair.

Macheath awaits execution at dawn. He tries bribing Smith but cannot gather the necessary sum. His gang arrives but also falls short on funds. Polly visits, confirming their business is thriving but that the revenue was already sent out for payments. Brown, guilt-ridden, offers Macheath asparagus for his last meal. Macheath mocks Brown’s friendship and cynically speaks about settling financial accounts. As execution nears, Peachum interrupts, reminding the audience that, in popular plays, justice must yield to mercy. Brown suddenly arrives with a royal pardon, granting Macheath wealth and a title. The cast sings, warning that real life offers no such rescues.