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A masterful performance balancing the dark undertones with the fun and silliness of the tangled storylines 

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Joe Hill-Gibbons’s production of the Marriage of Figaro suffered like so many theatre productions at the hands of the pandemic, managing one opening night before sadly having to shut. So it was even more special that this thoughtful production is being given its time to shine. 

On the surface, the Marriage of Figaro appears to be a lighthearted opera with plenty of jolly characters and silly moments. It is not unlike Shakespeare’s Much Ado About Nothing with a large cast and a number of storylines twisting and turning at every stage. However, underneath the frivolity and fun lies the menacing character of the Count and this performance skilfully balanced the fun alongside the dark undertones and themes.

With the original opera written in Italian, the choice to use a modern translation into English meant that it was possible to portray the narrative more clearly and sensitively for a modern audience. It also goes a way to making the performance more accessible for those that don’t know the storyline given how complex it is. Additionally, whilst the modern take on the translation added in witty jokes and silly throwaway lines, it also allowed the pain of the female characters at the hands of this treacherous man to be. The direction also did well to emphasise the mistrust the Count had of his court, even though his example was likely the reason for these behaviours. Powerful moments were also well captured between the strong female characters which gave rise to the comeuppance at the end of the performance. 

One character who notably demonstrated this raw emotion was the Countess played by Nardus Williams. Her arias were sung so beautifully and filled the theatre with sorrow in such as sensitive and masterful way. On the other hand, David Ireland did a spectacular job of bringing the cheeky and brash Figaro to life. Accompanying the beautiful singing of the high-performing cast was the ever impeccable ENO Orchestra conducted by Aināes Rubiķis. A newcomer ENO, Rubiķis skilfully enabled the clever balance of this production through the orchestra, making the performers shine. 

Clever motifs were used throughout to bring lightheartedness to the production. One notable moment was during Cherubino’s aria when slow motion disco dancing was used to encapsulate the youth and naivety of the man. However, there were other occasions where the slapstick comedy felt a little too forced for what was otherwise a very classy cast and production. Additionally, whilst Hannah Hipp had a beautiful voice as Cherubino, I felt in such a highly emotive performance, more could have been brought out for the torment of this character. 

The simplistic set supported this performance beautifully with a clean white room with four doors which the cast energetically ran in and out of emphasising the complex and tangled web of stories that were being told. Another motif used to demonstrate the interwoven nature of all of the storylines was the characters often being totally bunched up on one part of the stage often with hands and feet all over each other. This also added another complex layer to the darker undertones of the Count’s actions. 

With the ENO’s discounted tickets for 21-35 year olds – you too can be singing Mozart’s ear worms for days after watching this well-balanced production. Playing at the London Coliseum until 22nd February.