The Marriage of Figaro

English National Opera - London Coliseum

Minimalistic set, modernised costumes and huge voices. Cast enhance the comedy and drama of the piece, but the modern and minimalist approach seems to take the power from Mozart's brilliant writing.

After this production opened for one performance in March 2020, just before the pandemic, this production of 'Marriage of Figaro' makes a return to the London Coliseum. A white a background and 4 doors are all that are needed in this production of Mozart's 'Marriage of Figaro'. A timeless piece, with smashing songs that carry an abundance of emotion and comedy; conducted by Ainārs Rubikis.

However, a two act show with only one interval is difficult for audience members to stay comfortable and engaged with the action. This piece is 3 hours and 10 minutes including the one interval. That being said, the direction of the piece helps the audience look deeper into the female leads, directed by Joe Hill-Gibbins. The lead Susana is played by Mary Bevan and Countess Almaviva played by Nardus Williams. It is very female led and the audience create a deep connection to these two characters, as the direction helps magnify the character's personalities. The talent in this production is fantastic, but the length of the piece does not give the cast the attention they deserve from the audience and the frequent movement in the seats; of people going to the toilet is distracting. Whilst Mozart's piece is divine, it is long, and this is not one for the newcomers to opera. The addition of a second interval or trimming the content would benefit the piece massively.

A female led opera is refreshing, especially with the age of the piece. The English National Opera give the character Countess Almaviva more opportunity to show her reactions and emotional development throughout the piece. Nardus Williams gives a intensely emotive performance; her voice fills the theatre and each note, word and how she characterises her role is remarkable. She is the strongest character in the piece, her solos are moments the audience craves and the silence during her numbers and the audience's applaud truly shows the connection she has built with the viewers. Susanna is a playful role; she highlights the comedy that comes from the male character's storylines and the way her character is organising the madness of the piece is fun to watch. Count Almaviva is played well by Cody Quattlebaum, he carries the charm and power of his character. The cast throughout are exposing him, putting him into vulnerable, comedic situations that show what he has been getting up to and strip him from his power over the other characters.

Minimal set and how the cast use their environment portrays the grand, huge house setting that the Count, Countess and the workers are set in. The stage is lifted to show the different floors of the house, the doors are used as entrances, exits and wardrobes/cupboards. However, in the first act where Cherubino is hiding from the count, a door is used as a cupboard, but then later used as a window; this is conflicting and confusing. Without having the previous knowledge that he is hidden in a wardrobe and then flees out of the window it would be confusing, as an audience member, to understand this element of the storyline, using a different door or jumping down from the front of the staging would make more sense and help the audience understand the setting clearer. There is also this marvellous moment at the beginning that is an opening along with to the overture, this sets the relationships, comedy and status of the characters. This is a brilliant addition and creates the comic tone of the piece. However, the musicality where they open the doors along to moments of the music is sometimes out of time and does not fit with the highs and lows of some elements of the piece of music. With a closer look at musicality this moment could be very strong. Great idea, just needs a re-look. The moment where they are also walking around outside as there are no obstacles to hide from each other and no barriers; in the moments they think they are alone, but the characters are right next to each other and talking about each other is also very conflicting. The choice of having them at different ends of the stage and utilising the space would give a clearer picture of the action.

Costume is intriguing, one of the most impactful elements of costume is in the second act where the countess changes her dress to a jumpsuit. This is a fantastic choice, because she has found out this information about the count and is about to trick him, the choice of trousers shows how she has taken on this power and has a higher status than him in the story in this moment. The theme of the costumes is formal wear to signify the wedding, the moment that the ensemble dress Cherubino as one of them with the white dress and flowers over his face to hide him creates comedy and tension. The audience are on the edge of their seats, as they hope the count does not realise who it is, because then their plan gets tainted. Susanna and the countess also change costumes, and this creates the tension near the end as Figaro and the count think that the characters are up to no good and Figaro's involvement could ruin the plan all together, the costume helps amplify this tension for the audience. Great uses of costume throughout the piece and it clearly sets the scene.

Marriage of Figaro is a unique opera and will always have a firm place history due to is forward thinking story lines that hint at female empowerment. Whilst everything is solved at the end and some plot lines are problematic, it does make for a tense and comic piece. The English National Opera have clearly shown the tone of the piece. However, design elements of the set need to be looked at to ensure the audience are not left confused by what is going on. Watching the piece in English, translated by Jeremy Sams, gives lines new meaning, helps the audience understand the connotations within the lines by how they are delivered, makes the relationships and reactions of the characters clearer. The music is given the justice it deserves, and the orchestra play every note perfectly. It's a vibrant, fun and dramatic piece, it just could benefit another interval or shortening to help new opera comers to appreciate Mozart's stunning piece for every moment and not lose interest. This would also ensure audience members do not miss a moment and don't have to worry about going to the toilet during the action.