Scottish Opera’s The Marriage of Figaro presents a charming and delightful production of Mozart’s opera.
From the opening note, the orchestra — led by conductor Dane Lam — is enchanting, and bewitches the audience with a performance that is filled with both mirth and power. The musicians seem to act in dialogue with the actors in a whimsical, almost comical manner. The actors too offer comedic talents, especially in the relationship between Figaro and Susanna, played by Edward Jowle and Ava Dodd, who each bring a sly flirtatiousness to their roles. However, the choreography of the piece sometimes feels uneasy, with actors sometimes appearing to drift or wander, rather than move with intention.
Where the production especially succeeds is with Simon Higlett’s design. The set of Figaro is beyond gorgeous: exquisite. Higlett’s design amazes with a beautiful, modular set that slides enormous pieces together to create the house and rooms in which the action takes place. Not only are these pieces beautiful in their own way, but Higlett spares no detail. The natural light from the back of the stage, cast across the set and actors as twilight or daylight, is not only convincing but enthralling, and deserves immense praise.
The issues of class and sexism that Mozart’s opera deals with are not always tackled head-on in this production, however when they are flirted with it is always in a tongue-in-cheek manner. Simone McIntosh is witty and charming as Cherubino, and seems filled with enough energy and cheek for the whole production. The opening of Act III sees Ian Rucker deliver a particularly spectacular performance as Count Almaviva, an acting highlight of the show.
The run time is somewhat longer than the advertised three hours ten minutes, coming in at roughly three and a half hours. However, there is more than enough to amuse and entertain an audience member for this duration, and Figaro is definitely worth a watch.
Image provided by Mihaela Bodlovic, courtesy of Scottish Opera.