DISCLAIMER: I know it’s bad form to review a play while it’s still in previews, but what can you do, I’m crazy like that. If anybody has a problem with it, they can give me an official press ticket and then I’ll obey the rules.

Go buy tickets right now for Roundabout Theatre Company’s production of The Threepenny Opera playing at Studio 54. The play will be ‘officially’ reviewed in a week, and after that it will be impossible to get tickets. There. Now don’t say I never gave you anything.

For those of you who have never heard of the play, let me give you some background. Written in 1928 by Bertolt Brecht, The Threepenny Opera is the story of a young girl who gets involved with a sociopathic murderer. But this is not your typical young ingenue in trouble story, its a social statement about the hypocrisy of conventional morality.

Brecht thought that theatre should provoke the viewer to question their own beliefs, and he didn’t think you could do that if you only connected to the piece on an emotional level. So he tried to make sure the viewer is always thinking, always rational. He does this through use of episodic scenes, harsh realities and no illusions. You are meant to always be aware you are watching a play.

One of the reasons I’m telling you this is because I know a lot of you are not fans of the typical Broadway musical. But this is nothing like a typical Broadway show. In fact, the only reason it’s a musical is because Brecht was mocking the genre and throwing in random songs as part of his ‘alienation technique’ to keep you thinking.

Now let me tell you the REAL reason you should go see this play: Alan Cumming. He plays the role of MacHeath, aka Mack the Knife (yes, like the Bobby Darin song but no, it’s a lot different when they sing it in the play). He is mesmerizing as the ruthless thief, womanizer, man-izer, rapist, arsonist and murderer who seduces poor Polly away from her parents. Cumming masterfully portrays the dichotomy of villain and martyr, and not only does the audience understand why Polly ran off with him, but I think half of them are ready to, as well (myself included).

The rest of the cast also gives superb performances. I had only ever seen Ana Gasteyer on Saturday Night Live, and she brought great comedic timing to the play, but I was really most impressed by her voice. She’s got some pipes on her. I guess singing bad pop-song medleys with Will Ferrell didn’t really give her a chance to shine.

Cyndi Lauper is visually striking on stage, really gorgeous, and her ‘Solomon Song’ almost brought down the house. Jim Dale’s Mr. Peachum has a smarmy used-car-dealer/creepy-uncle feel to it, which I think is a wonderful choice, and his musical numbers really illustrate what a professional he is. And I was left in awe by Brian Charles Rooney, who plays Lucy Brown and, I swear to God, he hits the highest notes in the play. Not only that, but he is funny as hell and almost steals the show. I wasn’t all that impressed with Nellie McKay (Polly), but that’s probably because her first big number, Pirate Jenny, is one of my favorite Nina Simone songs, and McKay’s version just didn’t hold up. (Do yourself a favor and click on the above link, scroll down and listen to a clip of Simone’s version, it’ll send chills down your spine). Isaac Mizrahi designed the costumes, which were a mix of goth, stripper, drag queen and Chanel. And even though there were giant neon stilettos and mesh underwear, I think his most daring and entertaining costume involves a Target logo–and what it represents. Look for it.

Brecht would be proud of director Scott Elliott. Instead of sets, neon signs tell you where the characters are. Bright lights flash for no reasons. Actors sing with their backs to you. Costumes and make-up are done on stage. Actors wander around in the audience before and during the show (in fact, before it started I thought a big group of goth kids were just hanging out by the bar). And a giant mirror comes down as the backdrop — all of this just to remind you . . . you are watching a play.

And if that doesn’t convince you to go, there’s also lots of profanity, simulated sex, drug use and nudity to look forward to.