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Regional Reviews: New Jersey The Marriage of Figaro Joins The Barber of Seville Also see Bob's reviews of South Pacific and The Barber of Seville
The Marriage of Figaro opens three years after the conclusion of Barber, the play in which Figaro aided Count Almaviva in his courtship of Rosine. The setting switches to the chateau of Count Almaviva where Figaro remains in the employ of the Count. Today, Figaro is to marry Suzanne, who is Lady-in-Waiting to Countess Almaviva (Rosine). The unfaithful Count, already bored with Rosine, has been copulating with the servant girl Fanchette. As Figaro's "master," the Count is conspiring to reinstate his wedding night privilege to consummate Figaro's marriage to Suzanne, as well as to cuckold Figaro thereafter. Back on hand (from Barber) for the day's contretemps are Bartolo, who is still angry at Figaro for his role in thwarting his desire to marry Rosine; the bumbling music teacher Bazile, now acting as the Count's agent; the housekeeper Marceline, who has her own designs on Figaro; and Rosine, herself, who is quite active in protecting herself. Added contributors to the mayhem include Antonio, the gardener who is Suzanne's uncle, and Cherubin, the Count's womanizing page who is smitten with Rosine. The hilarious situations and complications are piled on with dizzying and delightful frequency. The wit, wisdom and poetic resonance of the dialogue are dazzling. On the basis of this Wadsworth translation of Marriage, I would describe Beaumarchais as the Shakespeare of 18th century commedia dell'arte. In complaining of royal censorship, Figaro notes that "only little men fear little essays." When others questionably pledge him their friendship, Figaro says that "time will tell me who my friends are. Time always tells the truth." A long and brilliant speech satirizes the intimidating threats to free speech of radical Islamic (in this instance, Turkish) censorship. Marceline speaks powerfully on the subject of discrimination against women. The inherent pathos of Rosine and others is fully integrated and emotionally involving. The highly stylish production and performances fully illuminate Beaumarchais' masterpiece. Here, Figaro is the leading role and Adam Green gets to delightfully expand his droll, good natured, and comically dexterous performance as Figaro. His supple and hilarious readings of Beaumarchais' extended monologues are of the star-making variety. Maggie Lacey's delightfully determined Suzanne is a perfect match for Green's Figaro. Naomi O'Connell is excellent as a more mature, self-assured, clever, and consequential Rosine. Neal Bledsoe smoothly portrays the sybaritic Count without noticeably acting any differently than he did when he was a male ingénue three years earlier. This serves to remind us that traits that may be attractive in a young Lothario curdle when they fail to mature and moderate after marriage. Jeanne Paulsen achieves maximum effectiveness by pinpointing the perfect balance between the unsympathetic and sympathetic aspects of Marceline. Derek Smith (Bartolo) and Cameron Folmar (Bazile) complete the most effective portrayals which they brought to Barber. Magan Willes is delightful as the not yet needing a shave Cherubin. Her femininity translates endearingly into the role of this adolescent boy. Charles Corcoran has provided the substantial and eye appealing one-level set. Camille Assaf's lovely and colorful posh costumes are most appealing. The Marriage of Figaro is the finest production of any play that I have seen in New Jersey this entire season. The only comparable Broadway productions were the Old Globe presentations of Twelfth Night and Richard the Third. (There is a dance at the conclusion of Figaro that stokes our memory of them.) It would be a shame if a commercial producer, or institutional or regional theatre does not pick it up (either by itself or along with its repertory companion production of The Barber of Seville). With The Marriage of Figaro, director Stephen Wadsworth and the McCarter Theatre have given us as fast and delightful a three hour (and fifteen minute) play as we are ever likely to see. The Marriage of Figaro (in repertory with under the umbrella title of The Figaro Plays) continues performances (see theatre website for repertory performance schedule) through May 3, 2014, at the McCarter Theatre Center, Matthews Theatre, 91 University Place, Princeton. Box Office: 609-258-2787; online: www.mccarter.org. The Marriage of Figaro by Pierre Beaumarchais; translated, adapted and directed by Stephen Wadsworth Cast Ensemble:
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