MARRIAGE OF FIGARO: New Vic, Newc'le Under Lyme/Scarborough to 28 September
THE MARRIAGE OF FIGARO: Mozart, new libretto Chris Monks
New Vic: Tkts 01782 717962
Runs: 3h 5m, till 24 August: Eves 7.30, Mat Sat 17, 2.30
then Stephen Joseph Theatre Scarborough, to 28 September.
Tkts: 01723 370541
Review: Rod Dungate, 2 August 2002
A bang up-to-date, stylish, witty and energetic production that makes sense of the story and offers genuine laughs.More Oprah than Opera. Mozart's musical satirical farce of sex, power, politics and corruption zooms its way into the twenty-first century in this energetic and imaginative production.
Director Chris Monks has a series of updated music theatre productions to his name at the New Vic: this is the first one I've seen and I understand why they're so successful. Mozart's farce centres around a corrupt ruler who attempts to use his power to have sex with a member of his staff on her wedding night: whereas in fussy 18th Century costumes and manners the story seems like a daft tale that we can patronise with 'well, it is opera and it's the music that counts', in this production, the corruption of power is to the fore however farcical the play becomes. The madness of the farce feeds the satire.
All the ingredients are there. There's a President driven by lust (he's appropriately named Roger) who we learn has 'done a great deal to help women stand on their own two feet but prefers them on their backs'. There's a put-upon wife – high on gin and pills, scheming staff, a young man constantly getting into (and out of) frocks (mmm, very strange . . . ) and scenes in bedrooms, bathrooms, showers and keep-fit. A Mozart misappropriated letter that moves the plot along, becomes a Monks captured email: 'Hi Big Boy' text messages are sent from mobile to mobile. Monks's witty translation firmly places the play in our world: 'I've knackered by knee' sings Figaro.
Monks knows his stuff though. None of this is at the expense of the music. In the intimate in-the-round New Vic space, the singers power their voices less (though never under-energise): the acting is heightened against a singing style that is more natural. Monks has jettisoned tedious recitative for quicker dialogue scenes: spoken and sung language merge naturally from one into the other. Voices balance well, too, nowhere better than in the long, complex, seven part ensemble that closes the first half.
Among a talented ensemble company of singer-actors Dominic Colchester and Fiona Dunn (Figaro and Suzanne) are a marvellous centre for the play. They look good (apart and together) and create a highly believable relationship between them and a lively one with us: both have easeful singing manners – they are a pleasure to listen to.
Chris Monks has directed with knowledge, skill, wit and flair and the action moves along swiftly in Patrick Connellan's stylish set.
Roger le Conte: John Berlyne
Barry Ireland: Claude Close
Phil Figaro: Dominic Colchester
Blair Diamond: Lucy Cound
Suzanne: Fiona Dunn
Margo Virago: Carol Noakes
Toni Le Conte: Sarah Redmond
Arno Guano/ Larry Diamond: Mark Roper
Billy Joe/ Harry Almond: Dylan Williams
Director: Chris Monks
Designer: Patrick Connellan
Musical Director: Richard Atkinson
Choreography: Beverley Edmunds
Fights: Renny Krupinski
Lighting: Daniella Beattie
Sound: James Earls-Davis
2002-08-05 17:43:30