Review: THE MARRIAGE OF FIGARO, London Coliseum
Joe Hill-Gibbins’s laugh-out-loud revival gets the run it deserves
Joe Hill-Gibbins’s new production of The Marriage of Figaro for English National Opera opened back in March 2020 for a single performance before Covid struck. Thankfully, nearly five years on it has been given a second life at the London Coliseum and it is a riotous delight from start to finish.
Mozart's raucous comedy of subterfuge and scheming between nobles and servants is given a fresh and vibrant treatment by both Hill-Gibbins and an excellent cast. Nardus Williams is the standout here as the Countess. Her two arias are beautifully delicate, wistful and captivating. Part Shoreditch hipster, part lascivious preditor, Cody Quattlebaum makes an assured ENO debut as the Count.
David Ireland’s Figaro is suitably frustrated and Mary Bevan’s Susanna is nicely forthright. Both are in fine voice, as is Rebecca Evans as an emotional Marcellina.
Polish mezzo-soprano Hannah Hipp is excellent in reprising her role from 2020 as a skater boy Cherubino. She even performs a real jump onto a waiting crash mat. There is also excellent support from Neal Davies as Bartolo and Ava Dodd as Barbarina.
Hill-Gibbins’ direction is pacy, bringing out both the brashness of the constantly moving comedy and then there is a sudden stillness, when the humiliated Countess slowly walks away. The final happy ending speeds by and the Count is left alone on stage. It is a poignant moment after so much larking about and there is no suggestion that he gets away with his awful behaviour.
Johannes Schütz's set is deceptively simple; a stark bright white box sits on stage, with four doors that open and close (occasionally distractingly often) to reveal various entrances and exits of the cast. It is a very clever conceit, as many of the jokes within the opera rely on who knows what and when. It really leans into the farcical elements of the story to great effect. Matthew Richardson's lighting design lends vibrancy and intrigue with both primary colours and great use of light and shadow, particularly as the white box elevates to reveal action below.
The simplistic nature of the set means all the attention is on the cast. There are no props to speak of and Jenny Ogilvie's movement direction must be credited for keeping the momentum going forward and precision in the physical comedy throughout.
Jeremy Sams's clever translation of Da Ponte’s libretto is witty and delivered with sharpness by the whole cast. Also making an enthusiastic ENO debut is conductor Ainārs Rubiķis who brings energy and zippiness to the score.
Clever, innovative and with lots to love, this production was worth the wait.
The Marriage of Figaro is at the London Coliseum until 22 February
Photo Credits: Zoe Martin
