The Threepenny Opera

Betrayal emerges as a central motif in Act II, as it shapes both individual relationships and broader societal dynamics and develops the theme of Corruption as a Universal Constant. Macheath’s arrest, facilitated by Jenny’s betrayal, symbolizes the fragility of trust in a corrupt world. Jenny’s actions reflect both her personal resentment of Macheath and what he represents—i.e., the capitalist and misogynistic exploitation of women like her—and a pragmatic understanding of survival. Her betrayal is foreshadowed in the Interlude, where Mrs. Peachum predicts Macheath’s downfall due to his inability to break free from familiar patterns. The motif of betrayal recurs throughout the act, emphasizing its inevitability in a world governed by self-interest. Even Lucy Brown, despite her professed love for Macheath, ultimately aids his escape as a way of asserting her power in a precarious relationship. Brecht uses betrayal as a reflection of societal structures that erode loyalty and trust, forcing individuals to prioritize survival over personal bonds even in the most intimate relationships.

This critique of the way capitalism reduces human relationships to transactions dovetails with his exploration of patriarchal hypocrisy. For example, Macheath’s behavior, especially his indulgence in the Turnbridge brothel, lays bare the contradictions between societal expectations and personal desires. Mrs. Peachum’s “Ballad of Sexual Obsession” extends this critique, mocking the double standards that uphold male dominance while forcing women, particularly sex workers, to bear the social and financial burdens of men’s indulgences. “Who does him down, that’s done the lot? The women” (69), she sings, exposing the cyclical nature of male dependency on female labor and sacrifice. The song also points to the economic exploitation associated with traditional gender roles, reminding the audience that sex workers come to the aid of their customers even when the latter die: “[W]ho paid the funeral? Whores did” (70). Mrs. Peachum’s commentary mirrors the conditions of the Weimar Republic, where economic hardship disproportionately affected women, forcing many into exploitative labor. The setting of the Turnbridge brothel serves as a microcosm of societal decay, where mundane tasks and criminal alliances coexist, portraying the normalization of exploitation and moral compromise. 

The portrayal of Polly and Lucy deepens the play’s engagement with women’s status in patriarchal societies. Polly’s transition from a romanticized view of love to a more pragmatic acceptance of her leadership role reflects her growing awareness of the world’s harsh realities. Lucy, on the other hand, demonstrates the complexity of loyalty and self-interest, as her actions reveal both devotion to Macheath and a desire to assert her agency. That they find themselves rivals despite the shared precariousness of their positions highlights the extent to which women depend economically on men even as (or because) they themselves support men in various ways. 

Power and vulnerability are intricately intertwined in Act II, as characters navigate a world where authority is often undermined by personal weakness. Macheath’s arrest at the hands of Smith and Mrs. Peachum demonstrates the precariousness of power, as even the charismatic criminal is not immune to systemic control. However, Brecht complicates this depiction by showing Macheath manipulating prison warders and escaping with Lucy’s assistance, suggesting that power is not a fixed hierarchy but rather a shifting dynamic influenced by resourcefulness and opportunity. Tiger Brown’s conflicted loyalty to Macheath highlights another facet of vulnerability within authority figures. Despite his position as Sheriff, Brown is emotionally paralyzed by Macheath’s accusatory gaze, revealing how personal ties can destabilize institutional power. The juxtaposition of Macheath’s swaggering confidence with his eventual imprisonment and reliance on Lucy for escape exemplifies Brecht’s nuanced portrayal of power as both a weapon and a weakness. The interplay between personal relationships and systemic control speaks to the broader theme of The Fragile Nature of Power and echoes the political instability of the Weimar Republic, where the fragile democracy was frequently compromised by backroom deals and shifting alliances.

Materialism is also emphasized and criticized in Act II of The Threepenny Opera. In particular, “The Ballade of Good Living,” sung by Macheath in Scene 3, mocks asceticism and promotes indulgence. Macheath’s rejection of traditional ideals of virtue dovetails with the theme of The Futility of Human Aspirations and echoes the cynicism of the Weimar Republic, where disillusionment with the old moral order led to the embrace of “excess” and escapism. “What use is freedom? None, to judge from this. One must live well to know what living is” (78), Macheath declares, turning the concept of freedom into a materialistic pursuit rather than an ideological one. This perspective, while seemingly hedonistic, underscores Brecht’s broader critique: In a capitalist society, survival is dictated not by ideals but by access to resources.