The Marriage of Figaro

The Marriage of Figaro has been entertaining audiences since its premiere in Vienna in 1876. Some of Mozart’s most delightful music both for arias and chorus carries a rollicking tale with more twists than a spiral staircase, plus almost buffo comedy throughout. The stage is never still, the voices are never quiet, the dramatic personae flow in and out of a movement pattern as complicated as any ballet.

All this is particularly true of the ENO production at The Colisseum. It was first seen in 2020, but for only one night, after which Covid brought down the curtain. As the curtain rises, we are presented with a white rectangular box, filling all the stage, only four white doors set along the back. While the orchestra spins into the glorious overture, a first door opens and out cavorts a man, then another opens and out pops a woman, or is it two or is it a man, and another opens and a line of women chase across the stage and disappear into a third door where three men are trying to get out. Only the music keeps up as the comings and goings continue in a breathtaking first scene to classical opera. But how will it go on from here?

The answer is that this hectic pace is kept up throughout the four acts, mirroring the story. For those who can’t remember it or who gave up trying to understand, here is the ‘simplified’ version: Count Almaviva is bored with his Countess, and wants to seduce Susanna, the Countess’s servant, who only wants Rigoletto who is wanted by Marcellino; Barbarino, the Count’s page, wants Susanna and the Countess and Barbarina, Antonio’s daughter who is also Susanna’s uncle. That is Act 1. A quick route to Act 1V via multiple hidings in cupboards,(doors) jumps from window (doors) swapped costumes and hiding (behind doors) the entanglements are smoothed into the joyous celebration of three marriages, Figaro to Susannah, Cherubino to Barbarina and Marcellina, discovered to be Figaro’s mother, not lover, to his father Dr. Bartola.

Along the way there is wonderful music and singing. Mary Bevan, as Susannah, for me, tops the cast, rising above the maelstrom of movement with her clear strong soprano while also making one see exactly why all the men desire her. Nardus Williams playing the Countess was definitely the audience’s pick and she soared into her solo arias, although sometimes with a vibrato which is not to everyone’s taste. The Count, Cody Qauttlebaum acts from superior to shame-faced with a good comedy sense, in his easy baritone. Figaro, David Ireland, is a sturdy Figaro, time to settle down perhaps, and, as always, Ireland has no problem with his excellent bass-baritone, whether to abuse or amuse.

The full house was not disappointed so it seems slightly begrudging for me to say that I would have loved it even more if there had been a set. Even though the white box occasionally lifted off the floor to reveal nothing much underneath, a white wall and four doors becomes dull over three hours and twenty minutes, however brilliant the choreography of the characters. Director, Joe Hill-Gibbons writes, ‘I think these comedies work best when the performers are connected directly to the audience. I didn’t want to distance them behind a fourth wall in a pseudo-naturalistic style.’ It is true that, since we have nothing else, to look at but the performers, we must concentrate on them, and in that sense, they perhaps come across more vividly. Associate and Movement Director, Jenny Ogilvie, presumably, take credit for keeping our eyes engaged, even without a setting. Words like music hall come to mind.

And yet, the quality of acting as well as singing and the magic lines coming across more clearly than usual, particularly, from Susannah, made not only for laughter rolling round the amphitheatre, but for better understanding. Counts and gardeners, lawyers and housekeepers, no difference between them as they all make a fool of themselves and all have their come-uppance.

The ENO has another winner.