A review by Katherine Hayes for EXTRA! EXTRA!

In his Notes on Directing, Frank Hauer commented older works are, ‘worthy of our attention because they are old and have lasted’. He also warns to resist updating texts where the period presentation should suffice.

The show is a delight, so much that I dare to venture Hauer may even agree this is a production that is the exception to the rule. The opera features lovers and obstacles, comedy and lechery, all drawn tightly together with the character of Figaro, witty and cunning, able to make some money by helping all to achieve their hearts desires

Under the musical direction of David Barnard, a sharp production with a vivacious cast, play out the tale of a young count in love, desperate to woo the girl of his dreams. Rosina (Tania Mandzy) is the object of Almaviva’s (David Webb) affection. With no hope of rescuing her from her dastardly guardian Doctor Bartolo (Sebastian Valentine) he engages the help of the cleverest man of the town, Figaro the Barber of Seville (John Savournin) to help him. Savournin as Figaro makes performing in almost every scene look as if a mere trifle, never once off key, always relaxed, fully immersed in his character, and thoroughly entertaining with comic timing. Director David Barnard’s musical arrangement is superb, utilising a strong cast and accompanying them note for note bringing enjoyment of the live experience. However I would have liked to have seen him rather than have him hidden in the wings off stage. Nicholas Morris as Don Basilio the socio-pathic henchmen was suitably unnerving, and it would have been nice to see a little more of the character as a device for further cruelty to Rosina and Almaviva, before love’s eventual triumph.

All the cast were sublime, skilled performers who deservedly received standing applause. Tania Mandzy as Rosina, and David Webb as Count Almaviva were a neatly turned pairing. Mandzy's skill and delicacy of tone moved a fellow audience member to say she could ‘really move the air’.

My only gripe is that the set brought nothing to the performance, asymmetrical, extreme shapes are excellent in large auditoriums but in small intimate theatres they are lost. 

Luckily for this production, the quality of the cast needed little embellishment as our eyes were all fixed on them. 

This is a treat of a show - melodiously, comically and technically perfect in every way.

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