Lisa Jenai Hernandez and Jenny Debevec in Happy End.

When Bertolt Brecht first wrote Happy End, it was rushed to capitalize on the success of his Three Penny Opera, and this from a man whose anti-bourgeois attitude proclaims “robbing a bank’s no crime compared to owning one”. But Brecht was no fool as he proves in this early, maligned work.

Woman’s Will—the all female company who bears the name of their most frequently produced male author Will Shakespeare—thinks of Happy End as their first production written by a woman. The mysterious “Dorothy Lane” (whose novel the piece supposedly was based on) does not even exist, yet her name remains above the title line. The original Happy End flopped terribly, less due to it’s own weaknesses and more because Brecht’s wife—Helene Weigel in the role of The Fly—took time out in the final act to ad lib an attack on the audience’s bourgeois leanings. But whatever the reason, Brecht did not even put his name on the script’s first published edition. Instead, he put Elisabeth Hauptmann, his secretary, lover, and co-writer on many of his early plays including the more favored Three Penny Opera. (Could this be one of the reasons Brecht’s wife let loose on her audience? Hmmm.)

Despite its chaotic beginning, Happy End is a fine example of Brecht’s characteristic motifs, his sharp and wicked sense of humor in both his snappy dialogue and lyrics (well adapted by Michael Feingold) with Kurt Weill’s surprising melodies that include the deliciously haunting ballad “Surabaya Johnny.” Lighter on politics than some of his work, the gangs and Salvation Army in Happy End all serve the same underclass that is desperately trying to survive in a country run by robber barons who believe “Telling the truth is not what we need right now.” Sounds familiar somehow.

The piece originally set in post 1919 has been updated for this production to 1939, an interesting choice that provides the audience with images of American movie gangsters, and the heightened tension between the Depression and the onset of WW II (that had already happened in Germany and was moments away from America). This gang led by The Fly (a sexy Anna Ishida) is planning a bank heist. One of their members, Bill Cracker (a convincing Jenny Debevec), is questionably loyal to the group and is under increased suspicion when he doesn’t appear for the job. Even gangsters can fall in love and in this case Bill, who could have any dame he wants, falls for the unlikely Hallelujah Lil (a lovely Lisa Jenai Hernandez) of the Salvation Army who is hoping to save his soul. Lil, herself a reformed prostitute, falls off her Bible stumping pedestal and falls for Bill (landing outside the safe haven of her fellow religious zealots). How it all ends of course is happily, but not until after many backroom bar shenanigans and a little hymn singing.

Though the cast is uneven in terms of vocal ability, and the off balance sound levels between singers and instrumentalists (admittedly seen on preview night), the total effect makes for enjoyable holiday fare. Part of this might be due to the site specific nature of the production which both served the play in its authenticity and provided a live soundtrack with actual passing sirens in the Oakland venue.

Kudos to Woman’s Will and director Erin Merritt for resurrecting this infrequently performed work by a classic revolutionary playwright.

Happy End continues at Original Joe’s (Fri. at 8pm), 144 Taylor Street (Powell BART), SF and at Luka’s Taproom (Sat. at 7pm; Sun. at 2pm), 2221 Broadway at Grand (near 19th St BART), Oakland. Tickets ($15-$25, but no one turned away for lack of funds) call (510) 420-0813 or go to www.womanswill.org