An autumn ‘practical project’, usually a piece of music theatre, has annually highlighted the multi-faceted skills of the music department’s undergraduates. This year’s choice, Brecht’s “play with music”, is more drama than music, while much of Weill’s score is deliberately populist.

The net effect is to stretch the students’ theatrical abilities while downplaying the very musical talents that won them a place on this campus. All the principals are equipped with a contact microphone. It is a seductive piece of kit. But it is not a cure-all: bad diction remains bad diction however much it is amplified.

A major short-coming of this intermittently stimulating evening is lack of intelligibility, worsened by a variety of ‘Cockney’ accents. But there are several compensations in Caolan Keaveney’s intelligent production. With much of the action confined to a relatively narrow band stage-front – the orchestra sits behind – he manipulates his tableaux carefully, sometimes freezing the action. Neat choreography and Kristina Craven’s spare set do the rest.

Callam Neville’s video projections round the fringes are consistently helpful. Nattily-suited spivs and mini-skirted whores distinguish Imogen Norman’s costumes.

Invariably the clearest speakers also sing best. Rebecca Ward’s Lucy leads the way here, with a strong mezzo. Hannah Johnstone’s Mrs Peachum also catches the ear. Wednesday’s attractive Polly – the role has been triple-cast – was Olivia Moss, singing firmly but rushing her speech. Ben Young’s laid-back Macheath projects erratically, undermining his charisma. Ryan Durkan’s orchestra is efficient rather than engaging.

An evening brimming with potential, certainly, but with too many actors not quite grasping the nettle.