a wonderfully entertaining production, filled with beautiful singing, clever staging and far more humour
Walking into the Oxford Playhouse for Mozart’s The Marriage of Figaro, I had never seen the opera before and wasn’t entirely sure what to expect. What I found was a wonderfully entertaining production, filled with beautiful singing, clever staging and far more humour than I had anticipated.
Performed in English, the production follows Figaro and Susanna as they prepare for their wedding, while navigating the increasingly complicated romantic entanglements of the Count’s household. The English translation worked brilliantly, allowing the audience to follow the story and, perhaps more importantly, appreciate the humour as it happened. Rather than dividing attention between the performers and subtitles, the jokes landed naturally, making the whole experience feel wonderfully accessible.
Musically, the production was superb. The orchestra, conducted by John Warner, delivered a beautifully rich and full sound that filled the Playhouse without ever overwhelming the singers. There is something quite special about hearing Mozart’s music performed live, and the balance between orchestra and performers was spot-on throughout.
Hugo Herman-Wilson’s Figaro had a wonderfully rich, deep voice, which paired beautifully with Rachel Speirs’ lighter soprano as Susanna. Their voices complemented one another, creating some particularly lovely musical moments. Equally impressive was the strength of the wider cast. There wasn’t a weak vocal performance among them, with everyone contributing to a polished and thoroughly enjoyable production.
The staging was equally clever. Rather than relying on elaborate scenery, the set centred around four doors mounted on castors, which were moved and repositioned to create different rooms. This worked particularly well in Act Four, when the doors were turned around to reveal illustrations of leaves and petals, transforming the space into the gardens. It was simple, effective and allowed the action to flow without unnecessary interruptions.
The contemporary setting, reminiscent of a National Trust property, was another interesting choice. Costumes helped establish the household hierarchy, with servants dressed in red while the Count and Countess wore blue. Lighting complemented the staging nicely, allowing the production to move effortlessly between settings.
Under Katie Blackwell’s direction, the pacing remained strong throughout, balancing the comedy and musical performances without either feeling rushed. It was an impressive production that made a potentially intimidating art form feel welcoming and enjoyable.
Unfortunately, the Oxford Playhouse run has already finished, which is a real shame. Having now seen Oxford Opera Company’s Tosca last year and The Marriage of Figaro this year, I can confidently say they are a company worth watching. Their ability to make opera accessible while maintaining such high musical standards is something to celebrate, and I would highly recommend catching one of their future productions.
★★★★½ | 4.5 stars
The Marriage of Figaro ran at the Oxford Playhouse on 9–10 October 2026. Further information is available via Oxford Playhouse.