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The Marriage of Figaro

 
Mark Harding Review by Mark Harding 5 Published: 30 May 2026 Festival Theatre Show Dates: 29 Apr 2026-6 Jun 2026

Yes! Yes! Yes! Mozart's sex comedy has lost none of its oomph. Sir Thomas Allen's revival of his production of The Marriage of Figaro shows how it should be done. With Amanda Holden's supernaturally witty English translation as its spine, this superb cast exploits every moment of broad comedy, bedroom farce, class satire, hormone explosion, jealousy, guilt, loneliness and forgiveness.

This superb cast exploits every moment.

The plot, briefly: Count Almaviva has renounced droit du seigneur but already regrets it, specifically where Susanna, the Countess's maid and Figaro's bride-to-be, is concerned. The Countess, heartbroken by the Count's infidelities, joins Susanna in a secret plot to outwit him. Meanwhile, Figaro pursues several schemes of his own, while Cherubino – the ultimate hyper-randy teenage pageboy – causes chaos across the estate. To add further complication, Marcellina arrives with her lawyer, Dr Bartolo, to enforce a debt that would compel Figaro to marry her instead.

The cast is uniformly on point. Edward Hawkins plays Dr Bartolo as comically conceited rather than a mere buffoon; Jeni Bern navigates Marcellina from one-dimensional unpleasantness to salt-of-the-earth warmth. Minor characters linger in the memory: Francis Church as the drunken gardener, Kira Kaplan as the besotted Barbarina, and Luvo Maranti as a wonderfully oily and mischievous Don Basilio.

The production walks the fine line between modern sensibilities and plausible period intent. Cherubino is perhaps more dog-rubbing-itself-against-anything-that-stands-still than strictly 18th-century (perhaps), yet neither does it overplay the erotic frisson of a female singer playing a randy boy dressed as the prettiest girl in the room. As Cherubino, Simone McIntosh's comedy is excellent, and her lovely mezzo-soprano makes for a heart-melting entreaty to the Countess for guidance in the mysteries of love.

Edward Jowle sings and plays Figaro with relish and brio – in lively arias fantasising about revenge on the Count, in comic double-takes, in ridiculous improvised excuses when caught out – yet his performance radiates domestic affection for Susanna. It feels like a marriage that could be a success. Ian Rucker is wonderfully mercurial as the powerful but often outwitted Count. Mixing menace with comedy, he manages the improbable feat of making the unfaithful, bullying Almaviva mysteriously likeable.

Both men are luckier with their wives than they deserve. Purportedly a story about the men, it is the women who come out on top morally and intellectually. Alexandra Lowe brings heart-rending loneliness and disappointment to the Countess as she sings her aria of wanting either her husband's love or death. Yet this is balanced by a characterisation that shows strength of character and, ultimately, forgiveness for the sake of love.

The stand-out, though, is Ava Dodd as Susanna, embodying the most admirable and life-affirming character on stage. She flawlessly ranges from comic bitchiness to warmth and affection, and although she is easily the most intelligent character, Dodd convincingly plays comically wrong-footed. She delivers gorgeous singing throughout, culminating in an unforgettable, exquisite duet of female friendship with the Countess in the letter-writing scene.

Simon Higlett's period stage design moves efficiently between locations, with a particularly clever solution for the Countess's bedroom. Dane Lam conducts the Scottish Opera musicians with ease, and special mention must go to Toby Hession for his witty piano improvisations in the dialogue sections.

Amir Nisi

Mark Harding

Mark has reviewed books, film, drama, dance and opera for multiple publications. His stories have been published in various magazines. He lives in Edinburgh.

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The Blurb:

If a full-length opera doesn’t feel like the right fit, Access performances make coming to a favourite title as easy and stress-free as possible.

With Dementia Friendly values at their core, these shortened performances of The Marriage of Figaro are open to all. Fully staged and performed by cast and orchestra, they also feature a presenter to introduce the story, characters and music from the opera. There are wheelchair spaces and extra staff on hand to help. There is also a smaller capacity to allow everyone space, and brighter lighting levels in the auditorium, giving you the flexibility and freedom to move about as required.

About The Marriage of Figaro

Sir Thomas Allen revives his much-loved production of Mozart’s unstoppable masterpiece. Reflecting the insight and experience of a seasoned performer, Allen’s Figaro is full of humour, subtlety, and wit. Simon Higlett’s sumptuous designs provide the backdrop for a comedy of social revolution and subversion that is as relevant today as ever, and this time sung in English.

All wedding days are complicated, but nothing compared to Figaro’s. After discovering that his boss, the Count, plots to seduce his wife, Figaro and Susanna must use their wit to outsmart their employer, whilst making it down the aisle. 

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