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ACT TWO After mistakenly arriving in Hoboken, New Jersey instead of Manhattan, Lenya and Weill are overwhelmed by their new surroundings. Not to worry, Weill explains that the way to become a true American is to become wealthy. Their first stop is a courthouse, where a sympathetic judge simultaneously grants them citizenship and re-marries them. 1940. Four years later. Weill has had some success on Broadway and is being photographed for a feature article by Harper's Bazaar. At the shoot. Lenya and Weill encounter editor George Davis. A savage wit and flamboyant bon vivant, Davis takes a keen interest in the couple, especially Lenya. When he learns that she is frustrated with her job prospects in the U.S., he arranges for her to perform at the prestigious Reuben Bleu Nightclub. Weill heads to California for some work in Hollywood. While he's there, he pays a visit to his old pal Brecht. Obnoxious as ever, Brecht demands to be paid royalties for every time Lenya performs one of his songs. When Weill protests, Brecht threatens to sue. After all, "That's the American Way." We jump ahead to 1944. America is at war and Weill is doing his part by writing a song for the bond drive. Backstage afterwards, a jealous Weill witnesses Lenya flirting with dreamboat actor Allen Lake. As he watches jealously. Weill begins to compose a new song. At their home in New City, Lenya and Weill are paid a surprise visit by Brecht. He is taken aback by their lavish lifestyle and chastises their selling out to the perils of capitalism. Brecht explains to Weill that he wants to do a revival of Threepenny. But Weill isn't interested. Aside from the fact that anything German would be a "dead dodo" on Broadway. he's already working on a new project (The Firebrand of Florence) with Ira Gershwin. Brecht is irate. "You would be giving piano lessons if it weren't for me he barks. And then, ever so politely. Weill asks Brecht to get the hell out of his house. With the failure of Firebrand of Florence, Weill heads off to California to earn some much needed easy film money. Alone in her dressing room, Davis confides to Lenya that Weill has been spending a great deal of time in California. Perhaps he's got a compelling reason to be there … As they did when they were separated before. Weill and Lenya keep up an active correspondence from New York to L.A. They also find themselves in the middle of a fantasy/nightmare marriage sequence à la Lady In The Dark with George Davis serving as emcee. It is now 1950. Lenya confronts Weill about his goings on in California. He confesses to having had an affair for the past six years. "I need her he confides. "You will get over it." Lenya offers, "I always do." But Weill has no intention of doing so. After all, this woman touches him where the music happens. And the music always comes first. Weill packs his bags and says goodbye to Lenya for the last time. And just like that, he is gone. To denote Weill's passing the Company gathers in the shadows on stage and sings a stirring ode. Lenya is devastated, not to mention filled with remorse. Davis visits her and tells her that he has already booked several engagements for her. And he also tries to talk to her about a film career. When Lenya scoffs at the notion, Davis points out that she could do worse. "I have done worse. Many times she quips. "I am a genius at picking lemons." The two compare notes on the various men in their respective lives. Davis believes that he and Lenya are good for each other. "We can love each other in our own way he explains. As the song ends, a new kind of partnership has formed between the two of them. Suddenly, we are backstage at the Theatre De Lys. The year is 1954 and Lenya, in her Pirate Jenny costume, is putting the finishing touches on her make-up for opening night of the Threepenny Revival. She is nervous and reluctant. But Davis is there. "No one feels his music the way you do he urges. "you have to do it for the music." Lenya takes it all in. After a long moment. she smiles. "Okeydoke." she exclaims. And with that, Lenya takes her place centre stage, and delivers her most famous line: "Look, there goes Mac the Knife". It is a bittersweet end to Lenya and Weill's love story, but it also marks a beginning of sorts for Lenya's own career. As Lenya fades away into time and space, a vivid memory echoing in the distance, the curtain falls. (Josh Holloway)