Damon Daunno, playing the ne’er-do-well Macheath, in The Counterfeit Opera . Photo: Nina Westervelt It’s a strange sensation to sit in the lovely wood-and-concrete amphitheater of Little Island, a bauble gifted to the city by media magnate Barry Diller , and hear a cast of actors decry the wealth of billionaires. But so ends Kate Tarker and Dan Schlosberg’s new take on The Beggar’s Opera , which they’ve transposed from its roots in 18th-century London to 19th-century New York — with more than a