Figaro

FIGARO: Conceived by Steven Epp and Dominique Serrand . Text by Steven Epp; Directed by Dominique Serrand. Presented by Theatre de la Jeune Lune at Berkeley Repertory Theatre's Roda Theatre, 2015 Addison St., Berkeley. (510) 647-2949, (888) 427-8849, www.Berkeleyrep.org. Through June 8, 2008.

A FIGARO FOR OUR GENERATION

Have you ever wondered what happened to your favorite fictional stage/opera icons? A trip to Jeune Lune’s brilliant production of “Figaro” on Berkeley Rep’s Rhoda stage will capture your heart while learning the fate of the major characters in Mozart’s comic opera “The Marriage of Figaro.” Steven Epp has created a text using parts of Beaumarchais’s trilogy about the loveable, nefarious meddler named Figaro and those surrounding him.

The time it is 15 years after Figaro’s marriage, revolution is raging in France. The inmates of the Bastille are roaming free and the guillotine has fallen on many heads. The Count Almaviva, whose former palatial home is stripped bare, is now simply Mr. Almaviva (Dominique Serrand), locked up in a closet by Old Figaro (Steven Epp) who has saved his life and to protect him from the mobs. In this case, the closet is a large moveable wooden box with Almaviva conversing through a small eye level door. Old Figaro, just called “Fig”’ and Almaviva begin their remembrance of things past. In doing so their young components come to life in myriad of clever, intricate maneuvers typical of physical performance utilized by Jeune Lune. When the young counterparts do come out (a moveable bed, an overly long blanket and a trap door to disgorge the characters), we are rewarded with Mozart’s music in solos, duets, trios and quartets.

The complicated plot of Mozart’s opera unfolds bit by bit until it is gradually pieced together like a jigsaw puzzle. The unadorned stage comes to life with eye-catching scenography and video projections (created by Serrand) on the back wall with a separate strip for super titles. The entrance and exits of youngsters must be seen to be believed. An impish red-headed Figaro (Bryan Boyce), a domineering Count Almaviva (Bradley Greenwald), a gorgeous Countess Davinia (Jennifer Baldwin Peden), a petit Susanna (Momoko Tanno) and a randy Cherubino (played by a girl Christina Baldwin) are all in excellent voice with great acting skills to compliment their singing. The excellent 7^th Avenue String Quartet using music adaptation by Bradley Greenwald are conducted by Jason Sherbundy on the piano.

Whereas Epp cuts a broad, vigorous swathe with his of characterization of Fig, Serrand relies on the unspoken word; he is brilliant with his non-verbal skill of conveying the Old Count’s inherited rights and privileges with a raised eyebrow, ever so slight cocking of his head, or a pregnant pause, as he awaits Epp’s capitulation into servitude. Fig may vocally protest, “What did you do to deserve your privilege?” or “I am not your servant”, but his actions convey otherwise. In an epitome of understatement, Susana (or was Davinia) insists, “Keep Figaro out of it. . . he complicates matters.” And complicate them he does, but Davinia and Susanna have their turn at adding complications to trick the lecherous Count, even resorting to dressing love smitten, randy Cherubino in woman’s clothing.

Physicality is rampant and begins early with the entrance of a functional (stripped down) barber’s chair introducing a hilarious sequence as Fig reverts to his primary occupation as a barber. In an ingenious directorial conceit, a chair is used to define character, emphasize anger and create humor.

With the French revolution about to begin, Mozart's librettist, Lorenzo da Ponte, removed "political" content that would have offended the Viennese imperial censors. A Lujune Lune production without social significance is not to be. Epp has expertly woven political/social significance into his script; “What did we gain with the revolution?” along with unkindly, yet humorous, references to the American Revolution and the lack of benefits in a democracy.

Shortly before the curtain descends hapless (?), Fig asks, “Who am I? What am I?” as he contemplates the “Amazing sequence of my life.” You too can share this amazing production. Just do it. Running time 2 hours and 40 minutes with intermission
Courtesy of TheatreWorld Internet Magazine