Plymouth Theatre Review

Easy to Follow: 3.5

Family Friendly: 4

Must see: 4.5

Title: The Marriage Of Figaro

Venue: The Lyric, Theatre Royal Plymouth

Date: 06/06/2025

Mozart’s ‘The Marriage of ‘Figaro’ is a cornerstone of opera – a lively comedy filled with mistaken identities and romantic entanglements. In the hands of the Welsh National Opera (WNO) this classic tale was an entrancing spectacle that captivated and amused, drawing the audience into the farcical world of the story with wit and musical splendour.

Set over the course of a single day, the action follows the character of Figaro as he prepares to marry his beloved, Susanna. Their marriage however is threatened by the determined Count Almaviva who consistently tries to win Susanna’s affection for himself. What follows is a farcical tale full of twists and turns, schemes and plots, as servants outwit their masters, in a hilarious tangle of events. 

The tone was set from the onset of the overture with the orchestra led by conductor Karem Hasan. The WNO orchestra played with warmth, precision and a seamless fluidity that carried the narrative, striking a perfect balance between flamboyant energy and grace, and bringing Mozart’s accomplished score to life. They expertly navigated the fine line between modern and classical, maintaining the original charm while instilling the show with a cleverly crafted modern relevance. 

The cast’s vocal performances were, as expected, a masterclass in operatic perfection. In the title role Williams Stevens as Figaro was a compelling mix of humour, intelligence and sincerity with a voice that rang rich and full throughout. His storytelling abilities in both vocality and physicality were outstanding ensuring that Figaro remained the dynamic heart of this production. Equally impressive was Christina Gansch as Susanna. Gansch’s soprano was a masterclass in control and expression. Her crystal clear vocals seemed effortless, and she expertly navigated Mozart’s demanding score while imbuing her performance with emotional nuance. 

Supporting roles were equally well cast. The Count and Countess Almaviva were portrayed with both gravitas and vulnerability adding a dramatic depth to the comedic storyline. Harriet Eyley as Cherubino, the love-struck page, was bursting with energy and youthful charm. Vocally Eyley delivered a glowing performance, and her character added vital pace and hilarity to the piece which ran at a generous three and a half hours. 

While the set design may not have matched the grandeur one might expect from such a prestigious opera house (leaning more towards functional than lavish), this was more than compensated for by the cast’s vibrant physicality and the show retained a rich visual appeal, despite a somewhat stripped back set. The simplicity of the staging encouraged focus on the performance of the performers themselves and with their performances being delivered with such conviction, it did not feel too lacking. It did somewhat take away from the grandeur of the experience, however, and the set that was employed didn’t match the richness and opulence of the overall piece, which was a bit of a shame. The costume design clearly spared no expense, with an expertly designed array of costume by Sue Blane. The period costumes were elegant and historically faithful, enhancing the storytelling while offering deep visual appeal. The lighting design by Linus Fellbom was also deployed deftly, shifting the tone and atmosphere in step with the emotional currents of the plot which while subtle, was sophisticated and deeply effective.

‘The Marriage of Figaro’ was operatic storytelling at its finest. The WNO has once again delighted both ear and heart, delivering a production that compelled its audience and reaffirmed why this opera remains one of the greats. An unforgettable performance, reaffirming that the WNO are a must see for anyone who loves live theatre. 

Reviewed by Ami Philpott

*Gifted – This theatre review was written following a gifted ticket to the performance. However, all opinions and views expressed in this review are entirely that of the reviewer and the review has not been influenced in any way by the provision of the ticket. Our commitment remains to provide an honest and unbiased assessment of the experience.