Review: The Marriage of Figaro - Norwich Theatre
Review by Ray Tempesta
Wild Arts Theatre have defied convention with their effervescent production of Mozart's The Marriage of Figaro in more ways than one.
Not only have they pared the opera back to its bare bones, with a set consisting of just a few boxes, screens and chairs, they've also reduced the orchestra to an eleven-strong ensemble, led by Conductor Orlando Jopling, and placed them on stage in the thick of things. And none of this has led to a compromise on quality.
As a 'commedia per musica', it's expected to be funny, and it's this sense of fun that emanates strongest in the show. Director Danielle de Niese has clearly had great fun extracting every ounce of humour from a piece she's especially familiar with, and the players too, although at the penultimate date of their tour were still having a blast.
What was particularly joyous to see was the enthusiasm for the piece that lead violinist Eleanor Corr radiated in her playing, a delight we'd have not witnessed were the musicians relegated to the pit.
Among the players, Timothy Nelson brought a menacing physicality to the role of the Count, which made his sulky tête-à-tête with William Searle's Don Basilio during Figaro's union with his parents all the more funny. The richness of his voice matched his commanding presence.
As the Countess, Elinor Rolfe Johnson gave an almost ethereal performance at times, wowing us with some beautiful arias. Matthew Siveter and Ellie Neate as Figaro and Susanna brought a giddy energy to their roles as the young lovers. While Siveter's vocals were similarly statuesque as Nelson's at times, he also displayed a gentle warmth too. Neate's vocals were just plain and simple gorgeous, full of heartfelt clarity.
The production was pure joy encapsulated. It has one remaining date on its tour, at The Rep in Birmingham on the 27th September. I'll be sure to keep an eye on what the superb Wild Arts Theatre are up to in future though.
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