Rather, it’s Polly’s parents, the ethics-free Peachums, who own the stage here. Kathleen Fortin is a powerhouse Madame Peachum who knocks ‘em dead with every song. (Strangely, people seldom dare to applaud during the show, which is a shame.) Jacques Girard, too, is a wonder in the role of Monsieur Peachum, the scoundrel who trains beggars to hone their pitches.
When the parents of the runaway bride come on this strong, it raises the stakes in the battle between mobster Macheath and his unwilling in-laws. And it’s less of a surprise when we find out that he’s doomed to be hanged – barring an act of God or British royalty. (The Quebec setting adds nuance to the deus ex machina ending, featuring a fur-helmeted messenger from the King.)
The singing voices are of higher quality than what’s usually required for Brecht, with one notable exception – Céline Bonnier as Jenny. But she plays to her strengths with breathy vocal fragility for her solo as a world-weary prostitute. Marc Béland’s portrayal of the corrupt cop, Tiger Brown, is deftly done, too.

See the full article from “Montreal Gazette”