602:(Jenny Diver, Suky Tawdry) have contracted with Peachum to capture him, and he becomes a prisoner in Newgate prison. The prison is run by Peachum's associate, the corrupt jailer Lockit. His daughter, Lucy Lockit, has the opportunity to scold Macheath for having agreed to marry her and then broken this promise. She tells him that to see him tortured would give her pleasure. Macheath pacifies her, but Polly arrives and claims him as her husband. Macheath tells Lucy that Polly is crazy. Lucy helps Macheath to escape by stealing her father's keys. Her father learns of Macheath's promise to marry her and worries that if Macheath is recaptured and hanged, his fortune might be subject to Peachum's claims. Lockit and Peachum discover Macheath's hiding place. They decide to split his fortune.
683:'s (a never-failing Method of explaining Libels)… Nay the very Title of this Piece and the principal Character, which is that of a Highwayman, sufficiently discover the mischievous Design of it; since by this Character every Body will understand One, who makes it his Business arbitrarily to levy and collect Money on the People for his own Use, and of which he always dreads to give an Account – Is not this squinting with a vengeance, and wounding Persons in Authority through the Sides of a common Malefactor?
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indications of dance music, accompanying instrumental figures or the like, except in three instances: Lucy's "Is Then His Fate Decree'd Sir" – one measure of descending scale marked "Viol." –; Trape's "In the Days of My Youth", in which the "fa la la chorus is written as "viol."; and the final reprieve dance, Macheath's "Thus I Stand Like A Turk", which includes two sections of 16 measures of "dance" marked "viol." (See the 1729 score, formerly published by Dover).
593:, who is Peachum's principal client. Upset to learn they will no longer be able to use Polly in their business, Peachum and his wife ask how Polly will support such a husband "in Gaming, Drinking and Whoring." Nevertheless, they conclude that the match may be more profitable to the Peachums if the husband can be killed for his money. They leave to carry out this errand. However, Polly has hidden Macheath.
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Macheath now finds that four more pregnant women each claim him as their husband. He declares that he is ready to be hanged. The narrator (the Beggar), notes that although in a properly moral ending
Macheath and the other villains would be hanged, the audience demands a happy ending, and so Macheath is reprieved, and all are invited to a dance of celebration, to celebrate his wedding to Polly.
2011:
196:: "Gay wrote the work more as an anti-opera than an opera, one of its attractions to its 18th-century London public being its lampooning of the Italian opera style and the English public's fascination with it." Instead of the grand music and themes of opera, the work uses familiar tunes and characters that were ordinary people. Some of the songs were by opera composers like
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among the thieves and whores there?" Their friend, Gay, decided that it would be a satire rather than a pastoral opera. For his original production in 1728, Gay intended all the songs to be sung without any accompaniment, adding to the shocking and gritty atmosphere of his conception. However, a week
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Gay uses the operatic norm of three acts (as opposed to the standard in spoken drama of the time of five acts), and tightly controls the dialogue and plot so that there are surprises in each of the forty-five fast-paced scenes and 68 short songs. The success of the opera was accompanied by a public
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In 1990 Jonathan Dobin created his period-styled performing edition for the Ten Ten
Players (now Theatre 2020) and it has since been performed at venues throughout the United States. This edition is based on the 1728 printed edition and includes the full overture as detailed by Pepusch and fleshes
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Criticism of Gay's opera continued long after its publication. In 1776, John
Hawkins wrote in his History of Music that due to the opera's popularity, "Rapine and violence have been gradually increasing" solely because the rising generation of young men desired to imitate the character Macheath.
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Macheath goes to a tavern where he is surrounded by women of dubious virtue who, despite their class, compete in displaying perfect drawing-room manners, although the subject of their conversation is their success in picking pockets and shoplifting. Macheath discovers, too late, that two of them
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As was typical practice of the time in London, a commemorative "score" of the entire opera was assembled and published quickly. As was common, this consisted of the fully arranged overture followed by the melodies of the 69 songs, supported by only the simplest bass accompaniments. There are no
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has argued that
Macheath is powerful as a literary figure precisely because he stands against any interpretation, "against expectation and illusion." He is now thought to have been modeled on the gentleman highwayman, Claude Duval, although interest in criminals had recently been raised by Jack
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Meanwhile, Polly visits Lucy to try to reach an agreement, but Lucy tries to poison her. Polly narrowly avoids the poisoned drink, and the two girls find out that
Macheath has been recaptured owing to the inebriated Mrs Diana Trapes. They plead with their fathers for Macheath's life. However,
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has been considered by critics as both a hero and an anti-hero. Harold Gene Moss, arguing that
Macheath is a noble character, has written, " whose drives are toward love and the vital passions, Macheath becomes an almost Christ-like victim of the decadence surrounding him." Contrarily, John
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325:(1725) plus two French tunes (including the carol "Bergers, écoutez la musique!" for his song "Fill Every Glass"), to serve his hilariously pointed and irreverent texts. Macheath's satire on modern society ("The modes of the court so common are grown") is also sung to Henry Purcell's
2014:
660:"This Week a Dramatick Entertainment has been exhibited at the Theatre in Lincoln's-Inn-Fields, entitled The Beggar's Opera, which has met with a general Applause, insomuch that the Waggs say it has made Rich very Gay, and probably will make Gay very Rich." (3 February 1728)
329:. Pepusch composed an overture and arranged all the tunes shortly before the opening night at Lincoln's Inn Fields on 28 January 1728. However, all that remains of Pepusch's score are the overture (with complete instrumentation) and the melodies of the songs without
714:: Macheath, sentenced to transportation, has escaped and become a pirate, while Mrs Trapes has set up in white-slaving and shanghais Polly to sell her to the wealthy planter Mr Ducat. Polly escapes dressed as a boy, and after many adventures marries the son of a
200:, but only the most popular of these were used. The audience could hum along with the music and identify with the characters. The story satirised politics, poverty and injustice, focusing on the theme of corruption at all levels of society.
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It will, I know, be said, by these libertine Stage-Players, that the Satire is general; and that it discovers a
Consciousness of Guilt for any particular Man to apply it to Himself. But they seem to forget that there are such things as
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based on Lucy's 3rd act song "I'm Like A Skiff on the Ocean Toss'd") and also to arrange the 69 songs. Although there is no external evidence of who the arranger was, inspection of the original 1729 score, formally published by
204:, the first Polly Peachum, became an overnight success. Her pictures were in great demand, verses were written to her and books published about her. After appearing in several comedies, and then in numerous repetitions of
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desire for keepsakes and mementos, ranging from images of Polly on fans and clothing, playing cards and fire-screens, broadsides featuring all the characters, and the rapidly published musical score of the opera.
667:, continues to be acted, at the Theatre in Lincoln's-Inn Fields with general Applause, to the great Mortification of the Performers and Admirers of the Outlandish Opera in the Haymarket." (17 February 1728)
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The commentator notes the Beggar's last remark: "That the lower People have their Vices in a Degree as well as the Rich, and are punished for them," implying that rich People are not so punished.
304:, the prison-breaker. It also deals with social inequity on a broad scale, primarily through the comparison of low-class thieves and whores with their aristocratic and bourgeois "betters."
674:, the leading opposition newspaper, ostensibly protesting at Gay's work as libellous and ironically assisting him in satirising the Walpole establishment by taking the government's side:
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and thief-catcher, justifies his actions. Mrs
Peachum, overhearing her husband's blacklisting of unproductive thieves, protests regarding one of them: Bob Booty (the nickname of
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1822:
333:. Various reconstructions have been attempted, and a 1990 reconstruction of the score by American composer Jonathan Dobin has been used in a number of modern productions.
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in Paris in 1671). The work became Gay's greatest success and has been played ever since; it has been called "the most popular play of the eighteenth century". In 1920,
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The absence of the original performing parts has allowed producers and arrangers free rein. The tradition of personalised arrangements, dating back at least as far as
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1582:(as "Morgenchoral des Peachum"). The lyrics in the latter version are very different, but the melody and the position of the song in the libretto are retained.
772:, Dobin and other conductors have each imbued the songs with a personal stamp, highlighting different aspects of characterisation. The hornpipe tune to which
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833:). In this work, the original plot is followed fairly closely (although the time is brought forward over a hundred years) but the music is almost all new.
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Hawkins blamed Gay for tempting these men with "the charms of idleness and criminal pleasure," which
Hawkins saw Macheath as representing and glorifying.
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in part allude to well-known popular ballads, and Gay's lyrics sometimes play with their wording in order to amuse and entertain the audience. Gay used
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Mr
Peachum – powerful leader of criminals who betrays or discards his thieves, highwaymen, and prostitutes when they are no longer useful to him
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on 29 January 1728 and ran for 62 consecutive performances, the second-longest run in theatre history up to that time (after 146 performances of
1881:
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that men should be allowed their natural liberties; these democratic strains of thought influenced the populist movements of the time, of which
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The work took satiric aim at the passionate interest of the upper classes in Italian opera, and simultaneously set out to lampoon the notable
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newly arranged the music (and also sang the role of Peachum) for the long-running production (1,463 performances) at the Lyric Theatre,
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created an adaptation with new harmonisations and arrangements of pre-existing tunes. Additional dialogue was written by the producer,
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151:. The lyrics of the airs in the piece are set to popular broadsheet ballads, opera arias, church hymns and folk tunes of the time.
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was the first singer of Macheath. It was dedicated to James Haldane Lawrie, who would go on to chair the English Opera Group.
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values in response to the growing power of the Whig party. It may also have been influenced by the then-popular ideology of
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A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800
760:'s later 18th century arrangements, continues today, running the gamut of musical styles from Romantic to Baroque: Austin,
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and is the only example of the once thriving genre of satirical ballad opera to remain popular today. Ballad operas were
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232:) in 1928, sticking closely to the original plot and characters but with a new libretto, and mostly new music by
784:". Following is a list of some of the most highly regarded 20th-century arrangements and settings of the opera.
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sang the role of Captain Macheath in every performance. In 1955 this version was recorded by conductor Sir
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as the Beggar. The "happy" ending was changed so that Macheath is hanged instead of being reprieved.
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has had an influence on all later British stage comedies, especially on nineteenth century British
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589:). The Peachums discover that Polly, their daughter, has secretly married Macheath, the famous
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Rakes, Highwaymen, and Pirates. The Making of the Modern Gentleman in the Eighteenth Century
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out all of the remaining 69 airs and dances of the original 18th century production.
406:– captain of gang of robbers; a womanizer who professes to love both Polly and Lucy
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1935:
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Britten, Benjamin; Mitchell, Donald; Reed, Philip; Cooke, Mervyn (1 January 1991).
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854:. An updated rendition of the story focused on a corrupt world inhabited by rakish
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The Thief of Hearts: Claude Duval and the Gentleman Highwayman in Fact and Fiction
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The opera was adapted for BBC television in 1983. This production was directed by
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823:(music) created a popular new musical adaptation of the work in Germany entitled
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had been running since 1916, receiving 2,238 performances up to 1921. Source:
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His dark song of self-justification is the only song that appears in both
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2020:
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1975:
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was met with widely varying reactions. Its popularity was documented in
30:
This article is about the ballad opera. For the Scottish rock band, see
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253:
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Carlson, Marvin (1975). "A Fresh Look at Hogarth's 'Beggar's Opera'".
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musical plays that used some of the conventions of opera, but without
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to have it banned, and it was not performed until fifty years later.
292:, and politicians in general, as well as such notorious criminals as
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521:
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O'Shaughnessy, Toni-Lynn (Winter 1987–1988). "A Single Capacity in
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The original opera was performed in an 18th-century setting at the
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In 1977, the Nigerian Nobel Prize-winning playwright and dramatist
729:, with the result that Prime Minister Robert Walpole leaned on the
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440:
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In 2021, French mezzo-soprano and composer Hélène Ducos created
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1084:, and modern popular songs are performed throughout the piece.
1080:. The lives of the convicts partly mirror their characters in
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In 1928, on the 200th anniversary of the original production,
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The Modes of the Court so Common are Grown (Macheath, act 3)
844:(music) created another musical adaptation of the work for
268:, a composer associated with his theatre, write a formal
1704:. Southern Illinois University Press. 1975. p. 239.
721:
The political satire, however, was even more pointed in
340:
The play is sometimes seen to be a reactionary call for
1152:. The first performance took place in Paris on 10 July.
1171:"Bibliomania: Free Online Literature and Study Guides"
1072:. This version is set aboard a convict ship bound for
670:
Two weeks after opening night, an article appeared in
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970:
arranged a new edition for The Australian Opera (now
272:(based on two of the songs in the opera, including a
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2096:
2074:
190:, which had become popular in London. According to
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86:
48:
1954:Vocal score used in 1920 Lyric Hammersmith revival
1030:is a major plot driver and excerpts are performed.
632:How happy could I be with either (Macheath, act 2)
623:Let us take the Road (Chorus of Highwaymen, act 2)
411:Filch – the Peachums' loyal but squeamish servant
252:on 30 August 1716 asking "...what think you, of a
663:"We hear that the British Opera, commonly called
635:In the Days of my Youth (Mrs Diana Trapes, act 3)
175:began a revival run of 1,463 performances at the
955:, which was later adapted as a film by director
922:(publ. 1981), an adaptation of both John Gay's
620:Can Love be control'd by Advice? (Polly, act 1)
1671:(2). Johns Hopkins University Press: 212–227.
281:, demonstrates that Pepusch was the arranger.
2041:
1897:Dead Dog in a Suitcase (and other love songs)
1139:Dead Dog in a Suitcase (and other love songs)
1076:, where convicts are putting on a version of
8:
1622:
1610:
626:At the Tree I shall suffer (Macheath, act 2)
1592:"The first production." The Beggar's Opera.
1118:in summer 2011 in a production directed by
264:, the theatre director, insisted on having
218:(working from a translation into German by
2048:
2034:
2026:
2002:
1985:
1441:: CS1 maint: location missing publisher (
68:
45:
1934:Guerinot, J. V.; Jilg, Rodney D. (1976).
1461:Richardson, John (Fall 2000). "John Gay,
1037:In 1998, the all female Japanese troupe,
943:(1978), an adaptation of both John Gay's
933:In 1978, the Brazilian singer-songwriter
244:The original idea of the opera came from
1738:"Britten Thematic Catalogue – BTC1020 –
638:The Charge is prepar'd (Macheath, act 3)
629:How cruel are the Traitors (Lucy, act 2)
360:Richardson in the peer-reviewed journal
2182:
1527:. Arnside, Cumbria: Forty Steps, 2015.
1360:, 10 May 1990, accessed 6 November 2009
1308:
1306:
1304:
1162:
208:, she ran away with her married lover,
1920:, July 2021, helloasso.com (in French)
1434:
1181:from the original on 21 December 2010.
974:). It was recorded the same year with
139:. It is one of the watershed plays in
1456:
1454:
1452:
1419:John Gay – Satiriker ohne Zielscheibe
1016:In 1984 in the play (and later film)
74:Painting based on scene 11, act 3 by
7:
1966:The Beggar's Opera
1884:from the original on 1 January 2017.
1133:created and toured a reinvention of
1961:, University of Oxford Text Archive
1195:. Penguin Reference Library. 2006.
1088:began touring the UK in early 2009.
210:Charles Powlett, 3rd Duke of Bolton
2213:Operas by Johann Christoph Pepusch
1131:Liverpool Everyman & Playhouse
907:playwright (and future president)
782:Here We Go Round the Mulberry Bush
780:in the mid-1700s is now used for "
25:
1752:from the original on 3 April 2016
1715:1948 Benjamin Britten version of
1289:from the original on 23 June 2016
911:created a non-musical adaptation.
131:in three acts written in 1728 by
2185:
2009:
1503:Baltimore: Johns Hopkins, 2009.
1041:, produced an adaptation titled
951:with new songs and set in 1940s
260:or so before the opening night,
1727:at the Guide to Musical Theatre
1148:, a four-act opera inspired by
1095:created a modern production of
1060:co-produced a version entitled
1942:. Hamden, Connecticut: Archon.
1774:Letters from a Life: 1952–1957
1375:Operetta: A Theatrical History
1116:Regent's Park Open Air Theatre
1:
1938:(ed.). "The Beggar's Opera".
1918:par Des Voix Sur Les Planches
918:wrote, produced and directed
704:In 1729, Gay wrote a sequel,
319:'s hugely popular collection
27:1728 ballad opera by John Gay
1465:, and Forms of Resistance".
1058:Out of Joint Theatre Company
657:with the following entries:
468:Beggar (serves as Narrator)
159:Lincoln's Inn Fields Theatre
112:Lincoln's Inn Fields Theatre
2019:public domain audiobook at
1421:. Saarbrücken. p. 66.
1233:Educational Theatre Journal
1026:, an amateur production of
315:mostly taken from the poet
2279:
2218:Operas by Benjamin Britten
1971:Internet Broadway Database
1664:Eighteenth-Century Studies
1327:, accessed 6 November 2009
1193:Penguin Pocket On This Day
892:The opera was made into a
508:"Trull" meaning prostitute
441:"Nimming" meaning thieving
29:
2243:Operas adapted into films
2146:What Keeps Mankind Alive?
1994:The Beggar's Opera (1983)
1977:The Beggar's Opera (1952)
1820:– STC & Out of Joint"
1345:, An 18th-Century Satire"
1001:in the role of Macheath,
538:"Slammerkin" meaning slut
500:
418:
402:
389:
101:29 January 1728
67:
53:
1623:Guerinot & Jilg 1976
1611:Guerinot & Jilg 1976
1601:Accessed 10 August 2011.
1479:10.1215/00982601-24-3-19
1127:Kneehigh Theatre Company
615:Selected musical numbers
379:and the modern musical.
365:Sheppard's escapes from
266:Johann Christoph Pepusch
222:) adapted the work into
137:Johann Christoph Pepusch
61:Johann Christoph Pepusch
2223:English-language operas
1899:– A new Baggar's Opera"
1690:(subscription required)
1552:. Viking. p. 227.
1467:Eighteenth-Century Life
1019:A Chorus of Disapproval
776:danced between acts in
362:Eighteenth-Century Life
135:with music arranged by
2263:Works about highwaymen
1849:, production details,
1647:1 January 1921: 18–19.
1417:Beyer, Stefan (2012).
1054:Sydney Theatre Company
840:(book and lyrics) and
788:In 1920, the baritone
749:
685:
313:Scottish folk melodies
300:, the highwayman, and
1825:22 March 2016 at the
1401:30 April 2009 at the
1323:31 March 2016 at the
1279:"Long runs in London"
949:The Threepenny Opera,
947:and Bertolt Brecht's
926:and Bertolt Brecht's
796:. The Irish baritone
744:
676:
2248:Operas set in London
2105:The Threepenny Opera
2066:The Threepenny Opera
1803:26 June 2009 at the
1723:4 March 2016 at the
1597:4 March 2016 at the
1579:The Threepenny Opera
1381:29 June 2014 at the
1351:26 July 2016 at the
1129:in association with
1101:Royal Lyceum Theatre
1091:The theatre company
928:The Threepenny Opera
900:as Captain Macheath.
894:film version in 1953
862:and their dissolute
830:The Threepenny Opera
825:Die Dreigroschenoper
424:Crook-Finger'd Jack
395:Lockit – jail keeper
229:The Threepenny Opera
224:Die Dreigroschenoper
186:The piece satirised
34:. For the film, see
32:Beggars Opera (band)
1818:The Convict's Opera
1395:"Baroque Composers"
1109:A Band Called Quinn
1086:The Convict's Opera
1062:The Convict's Opera
1049:'s retirement play.
522:"Doxy" meaning slut
322:The Gentle Shepherd
296:, the thief-taker,
240:Origin and analysis
220:Elisabeth Hauptmann
2087:The Beggar's Opera
2016:The Beggar's Opera
1870:The Beggar's Opera
1864:Michael Billington
1746:brittenproject.org
1740:The Baggar's Opera
1717:The Beggar's Opera
1659:The Beggar's Opera
1574:The Beggar's Opera
1550:The Thieves' Opera
1463:The Beggar's Opera
1357:The New York Times
1343:The Beggar's Opera
1316:The Beggar's Opera
1268:The Beggar's Opera
1150:The Beggar's Opera
1135:The Beggar's Opera
1097:The Beggar's Opera
1082:The Beggars' Opera
1078:The Beggar's Opera
1070:Max Stafford-Clark
1028:The Beggar's Opera
945:The Beggar's Opera
924:The Beggar's Opera
778:The Beggar's Opera
750:
727:The Beggar's Opera
665:The Beggar's Opera
651:The Beggar's Opera
501:Women of the Town
373:The Beggar's Opera
350:The Beggar's Opera
309:The Beggar's Opera
206:The Beggar's Opera
193:The New York Times
173:The Beggar's Opera
155:The Beggar's Opera
124:The Beggar's Opera
78:, c. 1728, in the
49:The Beggar's Opera
37:The Beggar's Opera
18:The Beggar’s Opera
2208:Works by John Gay
2173:
2172:
1916:Minuit Montmartre
1845:The Beggars Opera
1784:978-1-84383-382-6
1777:. Boydell Press.
1644:The Musical Times
1613:, pp. 87–88.
1533:978-0-9934183-0-3
1519:Sugden, John and
1509:978-1-4214-1385-3
1370:Traubner, Richard
1314:Jonathan Dobin's
1312:Dobin, Jonathan.
1146:Minuit Montmartre
1056:of Australia and
940:Ópera do Malandro
798:Frederick Ranalow
569:
568:
536:Mrs Slammekin – (
493:Mrs Diana Trapes
458:Matt of the Mint
434:Robin of Bagshot
355:The character of
157:premiered at the
120:
119:
16:(Redirected from
2270:
2190:
2189:
2181:
2164:Threepenny Novel
2050:
2043:
2036:
2027:
2013:
2012:
2006:
1989:
1943:
1921:
1911:
1905:
1903:Kneehigh Theatre
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1866:(30 June 2011).
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1829:by Jack Teiwes,
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1039:Takarazuka Revue
898:Laurence Olivier
879:Benjamin Britten
851:Beggar's Holiday
808:as Macheath and
748:'s 1920s version
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1093:Vanishing Point
1074:New South Wales
1045:. The play was
1003:Stratford Johns
995:Jonathan Miller
988:Angela Lansbury
976:Joan Sutherland
972:Opera Australia
964:Richard Bonynge
810:Monica Sinclair
802:Malcolm Sargent
790:Frederic Austin
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506:Dolly Trull – (
439:Nimming Ned – (
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1936:Maynard Mack
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1875:
1869:
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1754:. Retrieved
1748:. May 1948.
1745:
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1470:
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1406:Baroque Arts
1405:
1390:
1374:
1365:
1355:
1342:
1332:
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1291:. Retrieved
1282:
1271:
1267:
1262:
1240:(1): 31–39.
1237:
1231:
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1211:
1192:
1187:
1174:
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1138:
1134:
1096:
1085:
1081:
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1052:In 2008 the
1042:
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1017:
1005:as Peachum,
997:and starred
984:James Morris
948:
944:
938:
927:
923:
919:
916:Wole Soyinka
909:Václav Havel
849:
828:
824:
819:(words) and
806:John Cameron
777:
774:Nancy Dawson
755:
751:
726:
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545:Suky Tawdry
488:Lucy Lockit
478:Mrs Peachum
372:
371:
361:
354:
352:was a part.
349:
339:
335:
327:Lillibullero
320:
317:Allan Ramsay
308:
307:The airs of
306:
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283:
243:
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223:
214:
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185:
172:
166:
154:
153:
129:ballad opera
123:
122:
121:
80:Tate Britain
56:ballad opera
43:
36:
2258:Folk operas
2233:1728 operas
1546:Moore, Lucy
1120:Lucy Bailey
1064:written by
1011:Bob Hoskins
887:Peter Pears
868:panhandlers
794:Hammersmith
758:Thomas Arne
737:Adaptations
712:West Indies
581:Peachum, a
565:Constables
530:Jenny Diver
453:Finger Dan
429:Wat Dreary
377:comic opera
342:libertarian
279:Dover Books
181:Hammersmith
2202:Categories
2061:Kurt Weill
1940:Contexts 1
1880:. London.
1868:"Review –
1157:References
1007:Gary Tibbs
957:Ruy Guerra
858:, raffish
821:Kurt Weill
591:highwayman
515:Mrs Vixen
498:Mrs Coaxer
463:Ben Budge
346:John Locke
288:statesman
234:Kurt Weill
149:recitative
105:1728-01-29
87:Librettist
54:Satirical
1487:145487729
1437:cite book
1137:, called
1125:In 2019,
1047:Maya Miki
1043:Speakeasy
903:In 1975,
877:In 1948,
848:entitled
836:In 1946,
262:John Rich
2082:John Gay
2021:LibriVox
1959:Libretto
1882:Archived
1823:Archived
1801:Archived
1756:19 March
1750:Archived
1721:Archived
1595:Archived
1548:(1997).
1399:Archived
1379:Archived
1349:Archived
1321:Archived
1287:Archived
1179:Archived
962:In 1981
856:Mobsters
846:Broadway
812:as Lucy.
725:than in
681:Innuendo
646:Reaction
572:Synopsis
404:Macheath
357:Macheath
257:pastoral
133:John Gay
114:, London
97:Premiere
91:John Gay
2156:Related
2059:'s and
1969:at the
1928:Sources
1685:2739105
1637:. "The
1385:, p. 11
1318:website
1293:19 June
1254:3206338
770:Bonynge
766:Sargent
762:Britten
718:chief.
560:Drawer
555:Jailor
473:Player
398:
367:Newgate
254:Newgate
145:satiric
103: (
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2178:Portal
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2108:(1931)
2075:Source
2069:(1928)
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864:whores
860:Madams
700:Sequel
695:Legacy
198:Handel
168:Pomone
39:(film)
2192:Opera
2124:Songs
2097:Films
1681:JSTOR
1483:S2CID
1250:JSTOR
905:Czech
804:with
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716:Carib
707:Polly
606:Act 3
597:Act 2
583:fence
577:Act 1
383:Roles
274:fugue
127:is a
1999:IMDb
1982:IMDb
1779:ISBN
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1576:and
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