This production transports a tale of love and deception from the cobbled streets of Seville to the dusty plains of the late 1800s American frontier

In an uproarious fusion of Rossini’s classic opera and Wild West antics, Charles Court Opera’s rendition of “The Barber of Seville” at Wilton’s Music Hall is a rollicking good time. Directed by the irrepressible John Savournin, this production transports the tale of love and deception from the cobbled streets of Seville to the dusty plains of the late 1800s American frontier, infusing it with a generous dose of English wit and charm.

Gone are the sombre tones of traditional opera; instead, audiences are treated to a riotous spectacle reminiscent of Monty Python meets a spaghetti western. David Eaton’s clever English translation of the libretto injects fresh energy into the narrative, with rhymes and quips that keep the laughter rolling. From Figaro’s entrepreneurial endeavours to Almaviva’s romantic gambits, every moment crackles with comedic fervour.

The intimate confines of Wilton’s Music Hall provide the perfect backdrop for this high-energy romp. The cast, led by the dynamic Joseph Doody and Samantha Price as the star-crossed lovers, deliver performances brimming with infectious enthusiasm. Meriel Cunningham shines as Rosina, infusing the role with a delightful blend of humour and heart.

Under Eaton’s skilful piano accompaniment, Rossini’s timeless melodies soar, capturing the essence of the original score while embracing the stripped-back charm of the venue. Each aria and ensemble number is a showcase of vocal prowess and comedic timing, ensuring that laughter mingles seamlessly with the music.

Savournin’s direction strikes a perfect balance between slapstick antics and heartfelt emotion, ensuring that the opera’s underlying themes of love and redemption remain at the forefront. 

The brilliance of this production lies not only in its inventive setting but also in the stellar performances of its cast. Joseph Doody and Samantha Price bring charisma and charm to their roles as the lovestruck Almaviva and Rosina, navigating the twists and turns of their romance with aplomb. Their chemistry is palpable, infusing each scene with a sense of joy and longing.

Jonathan Eyers commands the stage as the resourceful Figaro, his baritone voice resonating with authority and mischief. Whether he’s concocting elaborate schemes or charming his way out of trouble, Eyers’ portrayal is both captivating and endearing.

Hugo Herman-Wilson delivers a memorable performance as the villainous Basilio, his booming bass-baritone voice instilling fear and laughter in equal measure. His portrayal of the scheming bartender adds depth and complexity to the production, elevating it beyond mere farce.

But perhaps the true star of the show is David Eaton’s ingenious English translation of the libretto. Witty and irreverent, his lyrics breathe new life into Rossini’s masterpiece, transforming it into a rollicking comedy for the ages. From pun-filled duets to tongue-twisting trios, Eaton’s wordplay delights and surprises at every turn, earning thunderous applause from the audience.

With its unforgettable performances, inventive staging, and infectious energy, this production is sure to leave a lasting impression on audiences of all ages. So, grab your Stetson and saddle up for a wild ride through the Wild West – you won’t want to miss it!