BWW Reviews: THE BARBER OF SEVILLE (OR SALISBURY), The Kings Head Theatre, March 20 2011
Becoming a parent has many unexpected joys (and many unexpected er... not joys), one of which is watching the great animated shorts of the 50s and 60s as the kids sit in front of the electronic babysitter. Accompanying the dazzling draftsmanship, crazy slapstick and real poignancy of many of the cartoons, the soundtracks include some wonderful music as Tom and Jerry visit unspeakable violence upon each other or Bugs Bunny outsmarts Elmer J Fudd or Woody Woodpecker whirls around his latest victim. That music burrowed into my childish brain, to be revived thirty years on and once more, when sitting in the audience at London's Little Opera House at the King's Head Theatre. Like the chorus of Yellow Submarine, some songs you just know.
Fresh from its remarkable honouring at the Oliviers for La Boheme, Operaupclose continue to present opera, yes you guessed it, up close, seven nights a week in a repertory programme that also includes Pagliacci and Madame Butterfly alongside Rossini's riotous romp. Naturally, the plot is ridiculous, but I rather liked the decision to set the action in a Jane Austenesque Salisbury (not least because the singing was in English) and to encourage plenty of hamming from a cast having as much fun on stage as we were having in the stalls.
It was pleasing to see Clare Presland (Rosina) singing more than she did in Butterfly, but, apart from a few sassy asides, her acting skills were deployed solely as a foil for the battle for her favour fought between Edward Lee (the Marquis of Bath) and Dickon Gough (Dr Bartleby). Fox is sly and cunning and never knowingly undersells a moustache twirling, as he plots with Stephen John Svanholm (the eponymous fixer / barber Figaro) to win the fair maiden, besting both the boring, boorish doctor and his scheming sidekick Stephen Holloway (Mr Basil). Amidst the upper class twittishness, Susan Jiwey (the Maid) reminds us in her plaintive aria that romantic love was a game played by those who could pay the entrance fee - below stairs, love played second fiddle to survival in courtship contests. Indeed so - but most of the show comprises silly shenanigans and, really, why not?
With such great tunes, close harmonies and the heart-bursting heart-breaking business of courtship portrayed as fun, fun, fun, I was reminded of The Beach Boys' teenage anthems from the Pet Sounds era - light, innocent and winning melodies confessing love. Operaupclose will take great pride in the recognition that comes with their Olivier Award, but they will take equal pride in seeing an audience aged between 13 and 73 delight in the sheer accessibility of their production. If you're new to opera, feel free to start with Tom and Jerry but go see the real thing too - you're guaranteed a good time!
The Barber of Seville continues in rep at The King's Head Theatre.
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