Review: THE MARRIAGE OF FIGARO, Yvonne Arnaud Theatre
Slimmed down touring production does not compromise on music nor singing
First, I should declare an interest. A decade and a half ago, I had not seen an opera. Sure, I’d seen Pav belting “Nessun Dorma” on telly, but that was about it. A radical reworking of Madama Butterfly was my in and, despite many a trip to the Royal Opera House and The Coliseum for their monumental productions since then, I remain as impressed with scaled back shows as ever.
Wild Arts' touring production of Mozart’s The Marriage of Figaro (probably better titled, The Wedding of Figaro) lies somewhere in between those ends of the operatic spectrum. Not much in the way of sets (a few boxes are worked harder than Romesh Ranganathan’s agent) but a nine piece orchestra playing all those notes that so upset Salieri. The score has been arranged by Orlando Jopling who joins director, Danielle De Niese, on translation duties. Pared back or not, whether you know the tunes as a Mozart fan or via Bugs Bunny, they’ll be there.
Ms de Niese goes a long way back with Figaro having played Barbarina at The Met as a teenager! That love and respect shines through the production, not least in the somewhat unusual - these days - decision to play in period costume (Laura Jane Stanfield on design duties). That takes us deep into Figaro’s world, even if we’re sometimes jolted out of it by the English libretto.
For what it’s worth, I’m on the side of those who prefer the original words supported by surtitles, especially in Italian, surely the language of opera. I’m perhaps a little swayed by my mother’s disdain for films not in English despite her very catholic tastes otherwise, and I’ve felt committed to original soundtracks since, rebel that I was. Just never watch a dubbed Ghibli film is what I’m saying.
Back in 18th century Seville, Figaro (the eponymous barber of Rossini’s, written later but set earlier, opera) is measuring out his marital bed but his intended, the usually bright and bubbly maid, Susanna, is disconcerted by its proximity to Count Almaviva’s chamber. He’s been pursuing her to exercise his ancient right of droit du seigneur (think a feudal Harvey Weinstein, which isn’t much of a stretch) and he’s in a minority of one in thinking it’s a good idea.
So the wits of the soon-to-be-wed couple are deployed against the buffoonish rather than evil aristocrat (that’s why you need the costuming - it would land very differently in modern attire) and they’re joined by other members of the household who have assignations of their own to pursue. It’s all silly, but fun, and with just enough edge even today to understand why The Establishment were at best uneasy and, at worst, censorious, its transgressive themes rather too sharp.
Jack Sandison gives us a wide-eyed Figaro, sometimes a little slow on the uptake, but resourceful once he sees what’s going on. As Susanna, Ellie Neate’s blue-eyed, blonde-haired looks and lowly station belie her astute perception and it’s she who really pulls the strings to thwart the Count, Timothy Nelson, physically big and bearded which just adds to his comic persona.
The support cast have plenty of fun, Abbie Ward very winning indeed in the trouser role of the horny page Cherubino and Elinor Rolfe Johnson regal, sad and cunning as the Countess.
Of course, there’s a few far-fetched pranks and reveals en route to the resolution, but Gilbert and Sullivan were not averse to a little topsy-turvying. It also feels a tad long at just over three hours, but stamina is important on both sides of the fourth wall in opera, so you just have to suck it up.
Most important of all is the chance to hear the music and the singing at close (well, closeish) quarters and it’s as fresh and frenetic as ever it was. With the tour continuing until deep in September at various venues, it’ll attract those familiar with an iconic opera and, I hope, newbies for whom it may prove the gateway drug to a wondrous art form too often tarred with the brush of inaccessibility. It really isn't you know.
The Marriage of Figaro is on tour until 27 September
Photo images: Eleanor Church
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