Venue: The Frederic
Wood Theatre Dates: 13 - 22 March 2003
Reviewer: Jane Penistan
The amusing plots and interweaving intrigues in this play are almost
as intricate as the mechanism of a timepiece. The 18th-century author
was both a skilled playwright and watchmaker, who also had many other
talents. He was the epitome of a man of the Enlightenment. In this translation
of the French text, David B. Edney has managed to inject the sharp wit
and humour, which must have been in the original. This makes for an
evening's entertainment little less enjoyable than the popular and well
known Mozart opera Le Nozze di Figaro, which libretto is derived
from the Beaumarchais work.
This production runs at
a rollicking pace, with repartee interchanged with celerity and scenes
changed at the drop of a flat. Fleet footed dancers move furniture and
properties prestissimo. The Spanish/Moorish architecture and colourful
costumes shine in the bright southern sunshine created by the lighting
department. Upstairs/downstairs characters are clearly defined by the
elegance or uniformity of their costume.
As Figaro, Ryan Egan is
the wily, conniving valet to the aristocratic, autocratic Count Almaviva
(Jason Nicola). Both men try to score off each other in their own way,
with Figaro being by far the more nimble-witted. The long suffering
countess is charmingly realized by the beautifully dressed and convincing
Stephanie Biela who is sustained and assisted by her maid, the clever,
quick witted Suzanne (Tara Avery), Figaro's betrothed. Matt Ellis, as
Cherubin, is enchanting and the most musical singer in the cast. This
talented young man is also one of the musicians, who accompany the whole
performance as onstage guitarists and violinist. Paul David Richter
as Antonio is an outraged gardener and father of Fanchette (Christie
Leigh). Sarah Ferguson is an imposing Marceline besides being the very
adept choreographer.
While this is a long script,
the performance never becomes tedious. The energy and controlled pace
of the production keep the action moving, but also allows moments of
quiet for amorous interludes and space to generate future strategic
ploys.
Here is a rare
opportunity to witness a theatrical rather than an operatic presentation
of The Marriage of Figaro. This socially critical satire is
entertaining, enjoyable and well performed by the cast of the Theatre,
Film and Creative Writing Department of UBC. Perhaps the other two parts
of the trilogy of the adventures of Figaro, The Barber of Seville
will be presented in future.
© 2003 Jane Penistan
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