The Barber of Seville – Wilton’s Music Hall, London

Music: Gioachino Rossini

Librettist and Musical Director: David Eaton

Director: John Savournin

Welcome to the Wild West, though probably not as you may recall it. The cowboys are here but instead of shootouts and moonshine, we have deceit and disguise as Rossini’s operatic comedic masterpiece gets lifted from the dusty streets of Seville and dropped into the late 1800’s American West.

The Barber of Seville is an overblown and convoluted tale of greed, deception, and love. Nobleman Count Almaviva (Joseph Doddy) is in love with tavern owner and orphan Rosina (Samantha Price). Unfortunately, Rosina is under the care of her overbearing guardian, Bartolo (Matthew Kellett) who has plans to marry Rosina just to get his hands on her inheritance. Almaviva, whilst in love with Rosina, is keen for her to love him for himself and not his title or money, so he courts her from afar in disguise.

His attempts to find out if Rosina shares similar feelings for him have failed, so he turns to Figaro (Jonathan Eyers), the town barber and his former servant, for advice on how to win her heart. Rosina has not been blind to Almaviva’s attentions and shares his feelings but is unsure how to proceed with such an overbearing and controlling guardian. She too, turns to Figaro for advice who promptly devises a plan for both to meet (Almaviva still in disguise) so they can develop their feelings.

So far, so good. However, guardian Bartolo gets wind of someone seeking out the affections of Rosina, though he’s not sure who. With the help of his friend, Basilio (Hugo Herman-Wilson), they fast-track his plans to marry Rosina by force. Thus ensues a series of capers for Bartolo to marry his ward, Rosina to declare her love for the disguised Almaviva and for Almaviva to find out if Rosina truly loves the penniless soldier he pretends to be before declaring his true identity.

The resulting farcical shenanigans work beautifully with Rossini’s score. The move from Seville to the Wild West, whilst odd, opens the comedy door further and is given its credibility through David Eaton’s brilliantly funny libretto. The performances throughout are pitch perfect and whilst their singing skills are more than capable for the task, it’s their comedic chops that take this to another level.

John Savournin’s direction takes its lead from Eaton’s libretto and puts the comedy first – not at the expense of the music, but certainly in the tone and pace of this production. This zips along merrily and is aided by a cast having the time of their lives hamming it up gleefully. Whilst their singing drives forward the narrative, it’s their playful glances, nods to the audience and ever so slightly exaggerated gestures that drive the laughs.

This really is opera at its best and this production is elevated by three key ingredients:

• Eaton’s new libretto is a masterpiece in lyricism. It is both poetic and funny and plays with words, rhythms and sounds in a way that is more than reminiscent of Gilbert & Sullivan.
• The simple musical accompaniment. The only music in this is provided by Eaton at the piano. This stripped-back approach gives greater focus on the vocal performances and, through that, the libretto.
• The venue. Staged in Wilton’s Music Hall gives you a sense of what it may have been like seeing this in its day. The music hall setting makes this feel less like a traditional opera and more like a vaudeville show, which feels spot-on for this particular opera.

This is an opera for everyone, fans and newbies alike. It is fun and funny but without losing its operatic status. It should make any theatregoers’ must-see productions for this year and if you get the chance to see it at Wilton’s then all the better for it.

Note: in some performances at Wilton’s Music Hall, Almaviva will be played by John Gyeantey and Rosina will be played by Meriel Cunningham

Runs until 23 March 2024