Michael Lucke

East Germany. Summer, late 70's. Three years after her boyfriend Wassilij's apparent death, Nelly Senff decides to escape from behind the Berlin wall with her son Alexej, leaving her traumatic memories and past behind. Pretending to marry a West German, she crosses the border to start a new life in the West. But soon her past starts to haunt her as the Allied Secret Service begin to question Wassilij's mysterious disappearance. Is he still alive? Was he a spy? Plagued by her past and fraught with paranoia, Nelly is forced to choose between discovering the truth about her former lover and her hopes for a better tomorrow.

The Threepenny Opera proclaims itself "an opera for beggars," and it was in fact an attempt both to satirize traditional opera and operetta and to create a new kind of musical theater based on the theories of two young German artists, composer Kurt Weill and poet-playwright Bert Brecht. The show opens with a mock-Baroque overture, a nod to Threepenny's source, The Beggar's Opera, a brilliantly successful parody of Handel's operas written by John Gay in 1728. In a brief prologue following the overture, a shabby figure comes onstage with a barrel organ and launches into a song chronicling the crimes of the notorious bandit and womanizer Macheath, "Mack the Knife." The setting is a fair in Soho (London), just before Queen Victoria's coronation. In this production, Weill champion HK Gruber led the Ensemble Modern in a performance of Weill's complete original score, the first time it had been heard in Germany in many years. This production was broadcast on German television (3sat).

Even the military academy can't stop kind-hearted officer Gottfried Engelhardt from seeing the world through rose-colored glasses. Everything in the young GDR is blooming: Engelhardt's career, the socialist state, the black market, and maybe even a chance at love.