Reviewed by Suzanne and Greg Angeo
Members, San Francisco Bay Area Theatre Critics Circle
Photos by Eric Chazankin
“Figaro” Sparkles With Joy and Jubilation
Miguel Evangelista, Bill Neely, Christiaan Smith-Kotlaret (seated), Krista Wigle
For openers, Cinnabar Theater’s staging of Wolfgang Amadeus Mozart’s iconic comic opera is a pretty show, from the costumes to the set pieces to the performers, and above all, the music. The award-winning Cinnabar is the perfect venue for this production. The theater space is intimate, so you are close enough to the singers, and the orchestra, to really see their faces and know that this is the real deal. No digital effects, no lip-syncing. This is breathing, moving, living talent. The voices and orchestra are superb. But the icing on the cake is that it’s in English, using the 1991 translation by Jeremy Sams, from the original 18th-Century libretto by Mozart’s frequent collaborator Lorenzo Da Ponte. You can fully understand and enjoy all the romantic escapades and sly saucy wit. Mozart’s ecstatic music gives the story wings.
Kelly Britt, Cary Ann Rosko, Bharati Soman
If Figaro had been a movie in the 1930s, it never would have made it past the Production Code. It nearly didn’t get presented in 1786 due to all the salacious goings-on, but thankfully it did, and this “opera buffa” was immediately declared a masterpiece. The story takes place near Seville, in the palace of a beautiful young couple, the Count and Countess Almaviva. They appear to be having servant trouble, due in no small part to the Count’s roving eye. The Count’s faithful valet, Figaro, and the Countess’ winsome maid, Susanna, are madly in love and are to marry this very day. There are many spicy twists and turns in the romantic plot that conspire to put a halt to their plans for wedded bliss.
Kelly Britt
In the Cinnabar production, the setting is advanced to the 1920s, in that lull between the World Wars that saw the decline of the era of aristocracy and servitude, and the rise of the commoner. During scene changes, recorded jazz-age music underscores the period. (The Metropolitan Opera in New York will open its 2014-2015 season this September with their own staging of Figaro, also set in the 1920s.) The period costumes are correct right down to the undergarments, and the gowns are downright breathtaking. Earlier, costume designer Lisa Eldredge explained the great care taken in her adventure in designing and creating a wardrobe for the entire cast, in many cases from scratch.
There is a vast difference between musical theatre and opera, which requires absolute perfection in technique from the singers and musicians. Cinnabar’s Figaro hits the mark with great beauty and honesty. Innovative staging is by Elly Lichenstein , whose own operatic background as a singer-actor gives her special insight into the unique challenges of such a demanding production. Her direction and attention to detail is artful and inspired.
It’s not often these days that you can watch a North Bay musical performance and find the orchestra completely in tune. Even with the most beautiful musical score, if one musician or singer is off-key, it’s like having a pebble in your shoe when you’re hiking Yosemite. The scenery’s still nice, but it’s spoiled by that little distraction. Cinnabar is the one North Bay theatre company that has the chops to take on music’s greatest challenge – opera. Recent successes include Tobias Picker’s Emmaline from a few seasons back, and last season’s Carmen, both impeccably directed by Lichenstein. Figaro is destined to join her list of remarkable achievements.
Krista Wigle, Eugene Walden, Kelly Britt
Baritone Eugene Walden is extraordinary as Figaro. He’s the quintessential everyman who longs for happiness and justice, and he’s willing to challenge those in power to get it. The captivating soprano Kelly Britt plays the role of his intended Susanna, who apparently has bewitched her boss as well. Mezzo-soprano Cary Ann Rosko plays it for slapstick laughs in the traditional “trouser” role as the goofy, girl-crazy Cherubino, the Count’s page boy. Bharati Soman in the soprano role of the Countess is a tiny wonder, commanding the stage with grace despite her small stature. Christiaan Smith-Kotlarek as the scheming Count Almaviva has a sophisticated baritone and a polished, effective stage presence. Each singer, in turn, performs an aria during the course of the show that would be wonderful even if heard on its own. An example that showcases the ensemble talent is a sextet performed in Act III. “Darling Boy, Let Me Embrace You” weaves a tapestry of notes that mesmerizes the audience. From the lead role to the smallest, the entire cast, including the chorus, is outstanding. The small orchestra is first-class, energetically and flawlessly conducted by Cinnabar Music Director Mary Chun.
His work may have been commissioned by royalty, but in his heart Mozart composed music to delight the common people. This Marriage is loaded with giddy charm and magic, and is a wonderful way to spend a very special evening.
When: Now through June 15, 2014
8 p.m. Fridays and Saturdays
2 p.m. Sundays
Added performance Wednesday, June 11 at 7:30 p.m.
Tickets: $25 to $40
Location: Cinnabar Theater
3333 Petaluma Blvd North, Petaluma CA
Phone: 707-763-8920
Website: www.cinnabartheater.org
