LIFE IS VERY CONFUSING IN THE CITY OF 'MAHAGONNY'.

Byline: David Mermelstein

Correspondent

If you're pining for a star-studded Broadway show but can't quite muster the energy, or the dough, to travel to Times Square, you might consider a shorter journey, to the Dorothy Chandler Pavilion, where on Saturday night L.A. Opera unveiled John Doyle's new production of Kurt Weill and Bertolt Brecht's "Mahagonny," with no less than Tony winners Audra McDonald and Patti LuPone in the leads.

But don't do a double take just yet. Despite the big-name stars and the presence of a hot director -- Doyle's recent back-to-back versions of Stephen Sondheim's "Sweeney Todd" and "Company" on Broadway have won him critical raves and a Tony -- L.A. Opera has not gone down-market.

"Mahagonny," even in Michael Feingold's English translation rather than Brecht's original German, which had its premiere in 1930, is not "Annie" or "Spamalot." Heck, it isn't even "The Threepenny Opera," Brecht and Weill's greatest claim to fame. That collaboration, their first of five, produced a slew of memorable songs. But the only tune from "Mahagonny" that most American audiences will know is the "Alabama Song," and that because it was memorably covered by the Doors.

Yes, seeing McDonald as Jenny and LuPone as Leocadia Begbick flounce about the Chandler stage oozing camp sex appeal is delightful. And -- thanks to the magic of amplification -- they sound terrific, no strain or stress in their signature voices. But even with plenty of cute touches, this work, a jazzy fusion of opera and cabaret, remains a product of its time.

That time, Weimer-era Germany, was a period of confusion, angst and broad permissiveness, and this show reflects all those things. Moreover, Brecht was always a deeply political writer whose earnestness can be tiresome. Doyle walks a tightrope here: attempting to make a three-quarter-century-old work at once entertaining and politically pungent.

He succeeds only episodically, which is fitting, as "Mahgonny" is more a series of vignettes than a coherent narrative. But as the piece progresses -- it runs three hours with intermission -- Doyle's production gets bogged down in symbolism, to say nothing of excess stage business.

Doyle's Broadway acclaim stems in large part from his deconstruction of shows, his paring them down to essentials. Thus his "Sweeney" and "Company" not only employ minimal sets and props and unassuming costumes, but also have the actor-singers play instruments. For "Mahagonny," the singers just sing -- L.A. Opera music director James Conlon and an orchestra of more than 50 handle the instrumental duties from the pit.

Though the costumes are eye-catching -- heavy on frayed 1920's flapper wear -- there really aren't sets to speak of. In time, though, that changes, as cluttered signage descends from the rafters, big swaths of fabric gets dragged across the stage and the male members of the chorus illuminate their faces with flashlights.

Though Doyle's staging may leave us wanting more -- i.e., less -- the performances lack for nothing. Nor are McDonald and LuPone the only scene-stealers. Though less famous, the leading men, all opera singers rather than musical-theater performers, stake equally indelible claims to their roles.

Tenor Anthony Dean Griffey is chief among them, singing Jimmy McIntyre, the work's antihero, with a devastating mix of bravura and heartache. And as Leocadia's henchmen Trinity Moses and Fatty the Bookkeeper, baritone Donnie Ray Albert and tenor Robert Worle bring memorable characterization to parts richly sung. Much the same could be said of the rest of the cast, for despite Doyle's heavy directorial hand, "Mahagonny" succeeds as a performer's show more than anything else.

MAHAGONNY - Two and one half stars

What: L.A. Opera presents John Doyle's new production of Kurt Weill and Bertolt Brecht's fusion of opera, cabaret and agitprop, with Audra McDonald and Patti LuPone in leading roles.

Where: Dorothy Chandler Pavilion, 135 N. Grand Ave., Los Angeles.

When: 7:30 p.m. Wednesday, Saturday, Feb. 22 and March 1; 2 p.m. Feb 25 and March 4.

Tickets: $30-$220. [phone] or www.laopera.com.

In a nutshell: Despite good singing and some clever staging, this Weimar relic never really comes alive.

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Photo:

L.A. Opera takes on the Bertolt Brecht/Kurt Weill "Mahagonny," at the Dorothy Chandler Pavilion.