
From the Oct. 2 edition of Street Roots
You could say it was only a matter of time before the sit-lie ordinance, people being spare-changed multiple times per block near Pioneer Square, Portland’s unique political establishment, and Reed College hipsters became the subjects of art.
Inspired “by people who are making it through the night not living with a roof over their heads,” local singer, performing artist and writer Stephen Marc Beaudoin is taking on those topics, and many others he thinks makes Portland great (and not so great) in his musical adaptation of “The Beggar’s Opera.”
Written in 1728 by John Gay, “The Beggar’s Opera” is a satire set to musical theater (the precursor to the modern-day musical) about Polly Peachum, the daughter of Mr. and Mrs. Peachum, who runs off with Macheath, a famous highwayman simultaneously carrying on an affair with Lucy Lockit. Mr. and Mrs. Peachum want to kill Macheath for his money, as does Lucy Lockit.
Through scheming, wheeling and dealing, Lucy Lockit and the Peachums conspire throughout the musical how to kill Macheath and then split his fortune. In the end, Polly winds up marrying Macheath to everyone’s happiness, but not before a jailbreak, a near death-by-poison experience, and four (pregnant) women separately claiming that Macheath is her husband.
In telling Polly’s story, “The Beggar’s Opera” satirizes everything about London culture at that time, including class relationships and warfare, political corruption, sex scandals and poverty.
“The idea that people of means can break the law and get away from it and people not out of means break the law and suffer is very much at the heart of the piece,” Beaudoin says.
The 15 actors in Beaudoin’s musical adaptation are homeless individuals living in a camp together, trying to survive in Portland. Finally feeling like they no longer have any influence over their miserable lives, they decide to work together to put on a production of “The Beggar’s Opera,” playing characters inspired by City Commissioner Randy Leonard, singing diva Storm Large, and set in a city Beaudoin sees as much defined by Voodoo Doughnuts as by its 11.6 percent unemployment rate.
Two weeks before the musical’s October 22 opening at the Someday Lounge, Beaudoin sat down with Street Roots before a rehearsal to talk about what he calls his biggest creative undertaking since moving to Portland three and a half years ago.
Amanda Waldroupe: I understand that you were commissioned by Opera Theater Oregon to write an adaptation of the “Beggar’s Opera.” Why you, and why this particular play?
Stephen Marc Beaudoin: I’ve been dying to do this piece for a long time. It’s existed 300 years and continues to be reinvented and revisited. It’s timely because class warfare, philandering politicians, abuse of power and social inequality still exist in just as pronounced (ways) if not more so than in 1728.
A.W.: Why were you dying to do it?
S.M.B.: The original is a work that grabs you. It’s astonishing to read the original and feel the heat coming off the page as if it were just written yesterday. That aspect of it is really strong to me.
A.W.: Why does a play that satirizes everything from politics, corruption and wealth to poverty and injustice need to be told now?
S.M.B.: Because all of those things are here in abundance, everyday, in and around us all in Portland.
A.W.: So it was easy to adapt “The Beggar’s Opera” to contemporary Portland.
S.M.B.: It seemed to be about this city. All of the disgusting, nasty, glorious, outrageous, ponderous, conflicting elements of this city existed in the original. I just wanted to yank it into today, and make it very markedly inspired by local celebrities and all of the wonderful, awful things that make Portland Portland. Portland is this funny little microcosm of America, isn’t it? In many ways, it’s not at all. In many ways, it is. We’re this utopian, very much talked about desirable city with booming real estate and creativity and major business and rah, rah, rah. And yet, the state of Oregon and Portland lead the county in terms of homelessness, joblessness, and hunger. Some of these issues are much discussed and much written about, but yet nothing really changes, does it?
A.W.: It seems like the air is thick with material for your adaptation in Portland right now.
S.M.B.: Oh, yeah.
A.W.: Does that disturb you?
S.M.B.: What’s going on in this city should disturb everyone living in this city. I don’t mean to disparage Portland. This piece is really a celebration of Portland in its curious and weird way, but it’s very easy to get caught up in all of us and day-to-day living, and the ways that we scrimp and push and kick other people to get what we need, whether it’s a job or whether it’s some other advancement. I lived in Boston for 8 years. That city was nothing like this city in terms of … the seriousness of what I would call social-justice issues, especially homelessness and joblessness, etcetera that make Portland Portland, but that in one sense you can walk on by those things, and become immune to them.
A.W.: Do you think the problems you just highlighted are ones that Portlanders are aware of?
S.M.B.: Yes and no. Do I think that average Portlanders, if there is such a thing, spend their weekends or their non-working hours volunteering or doing some concerted thinking about these issues? Some do. I think people are inherently out for survival. Especially now, as we’re “recovering” from this recession, or whatever the hell it is, people are very concerned with their own survival. Continue reading →