Review: Manipulation, Marriage And Male Dominated Society Is Examined With Humour In The Contemporary Interpretation of FIGARO.

Saturday 2nd September 2017, 7:30pm, Genesian Theatre

Director Shane Bates brings FIGARO, Charles Morey's adaptation of Pierre Beaumarchais' 18th century romantic comic play THE MARRIAGE OF FIGARO, to Sydney's Genesian Theatre. Given the work, which also forms the second part of Beaumarchais' Figaro trilogy, is better known in its opera format, this contemporary adaptation makes this absurd story accessible to a different type of audience.

For those unfamiliar with the plot, FIGARO centres on the impending nuptials of Figaro (Ted Crosby), the Count's valet and Suzanne (Yasmin Arkinstall), the Countess' maid. The problem is that the lecherous Count (Paul Murton) has lost interest in the Countess Rosine (Molly Haddon) which formed the centre of THE BARBER OF SEVILLE, the first in the trilogy, and has now set his sights on Suzanne. Add to the web of lust, the Count's housekeeper Marceline (Melanie Robinson), an older woman, has set her sights on trapping Figaro for herself whilst Doctor Bartholo (Douglas Rumble) still holds a torch for the manipulative woman. The Count's young page, Cherubin (Tim Murphy), is infatuated with the Countess whilst also falling for every woman he encounters including Suzanne and Fanchette (Constance Khoo), the alcoholic gardener Antonio's (Edric Hong) daughter.

Owen Gimblett has created set of a large hinged backdrop to transform the intimate Genesian stage into the various spaces within the Count's Chateau, implying the age and opulence. Gimblett has dressed the stage with enough furniture to infer the various rooms whilst providing enough space for the comedy to play out. The costumes point toward the 18th Century French setting with britches, buckles and bustles.

Bates has opted to present the work as a combination of the actor's natural voices and variations on an English accent rather than even attempting to take on a French tone. He has opted for most of the characters to be presented as caricatures with a degree of absurdity and over eagerness. The exception to this is Molly Haddon's portrayal of the Countess Rosina as a more balanced woman who has a gravitas that ensures that while Molly Haddon's portrayal of the Countess Rosina is the most convincing with a balanced accent and a gravitas to ensure the distinction in rank between the Countess and Suzanne is made clear. She ensures that the Countess is seen as compassionate and still in love with her husband yet needing some degree of vengeance and need to teach him a lesson.

Yasmin Arkinstall presents Suzanne with a contemporary cheek and sass while Ted Crosby highlights Figaro's conceit and stupidity as he believes he's smarter than he is. Paul Murton is grotesquely oily as the Count and Melanie Robinson ensures that the manipulative Marceline is seen as deluded and vindictive. Edrick Hong's drunk gardener has a fabulous physicality and Tim Murphy's Cherubin has a buffoonish innocence.

Morey's adaptation is clever and highlights the political landscape of the division between the aristocracy and the general population, drawing parallels to the contemporary era. He also highlights the ideals of the era which saw men believing that they could have what they wanted, that they were smarter and women were just silly playthings for the male's amusement. For those familiar with Mozart's opera adaptation THE MARRIAGE OF FIGARO, Morey does reference it along with having his characters break the fourth wall to talk directly to the audience at times.

Understanding that this is a community theatre production, FIGARO is a fun filled expression of a story more often told in opera format and brings the lust filled show to a new audience.

FIGARO

To post a comment, you must register and login.