Camden Fringe 2026: The Barber of Seville – Upstairs at the Gatehouse, London

Composer: Rossini

Musical director: Giannis Giannopoulos

Director: Guido Martin-Brandis

The Barber of Seville is another imaginative production by Opera Kipling. With a cast of just five and a neatly abridged version, it’s perfect for Camden Fringe.

It’s set in the 1960s, which allows for funny changes. As the ward of the repressive Bartolo, Rosina at first wears a demure full skirt. But having fallen for Lindoro, she’s ready to rock, with an on-trend shift dress, knee-length boots and a fabulous beehive. So when the man of disguises, Lindoro, now pretends to be her music teacher, the pair briefly ditches Rossini’s music and instead do the twist to the Kinks’ You Really Got Me.

Lyric soprano and producer, Laura Curry, invests her Rosina not just with glorious singing, but with great comic energy. Her facial expressions when crossed by her guardian are hilarious. Lindoro, who of course is really Count Almaviva in disguise, is played by tenor Robert Tilson. As the dapper young suitor, he seems a bit fragile. But he really comes into his own when he transforms into the drunken soldier, billeted on Bartolo, showing more stage presence and singing with greater power.

But it’s Alexander Jones as Figaro who commands the show, brilliantly performing ‘Largo al factotum’. His comic business is hilarious. Offered a gold coin by Lindoro, he makes out in ‘All’idea di quel metallo’ that the gold is actually talking to him, inspiring his effervescent schemes. Later, in a lovely moment that squeezes in a lot of plot, he becomes the off-stage police officer responding to a call by playing a kazoo down the phone.

Geoff Clapham’s Don Basilio is a fabulous piece of physical comedy. He struts in wearing an orange wig and a slightly demented stare. His advice to smear the Count, ‘La calunnia è un venticello,’ is magnificent. Then, in a great move (hats off to director Guido Martin-Brandis), he is offered mysterious blue pills and starts to hallucinate (cue a quick psychedelic experience staged by the others). Next time he enters, he’s gone full stoned hippy, with long flowing hair and a flowery headband.

Equally demented is Massimo Modini’s Don Bartolo, although the part doesn’t allow for the modulations of the other characters and his mannerisms tend to exaggeration.

Musical Director Giannis Giannopoulos accompanies throughout with dynamic verve. Rossini’s range of duets, trios, quartets and the wonderful quintet ‘Don Basilio! – Cosa veggo!’ are all a delight.

It’s a lovely introduction to Rossini’s opera.

Runs until 9 August 2026

Camden Fringe 2026 runs until 30 August