Scottish Opera The Marriage of Figaro Festival Theatre Edinburgh 29th May 2026 Review
Scottish Opera: The Marriage of Figaro is at the Festival Theatre Edinburgh from Friday 29th May to Saturday 6th June, and this revival of Sir Thomas Allen's production of this timeless classic is simply a lot of fun.
First performed in 1786, "The Marriage of Figaro" was, with its obvious satire on the class system, a huge risk for Mozart (music) and Lorenzo Da Ponte (libretto after the play by Pierre Beaumarchais). Together, the two risked offending the very wealthy patrons and society upon which they hugely depended for their livelihoods. With a combination of spectacular music and a libretto that is full of humour, the duo not only managed to get away with some scathing comments on the class structure of the day, but created along the way a hugely popular work too. Sung in English, this production’s translation by Amanda Holden captures that original sense of fun whilst updating this libretto for modern audiences.
From the moment that the curtain rises, it is obvious that this is a production has had a lot of time and care put into the stage sets. Lighting, costumes and choreography are impressive and draw you into this world of bright colours and textures. This is Figaro's world, and it captures the lively fun of the music and libretto perfectly. Much of the credit for this must go to designer Simon Higlett and his team. Special mentions here to Mark Jonathan (lighting designer) and Kally Lloyd-Jones (choreography) are also needed.
With Figaro's world now firmly in place on stage, this main cast of Edward Jowle (Figaro, valet to the Count Almaviva), Ava Dodd (Susanna, soon to be wife of Figaro), Ian Rucker (Count Almaviva), Alexandra Lowe (Countess Almaviva) and Simone McIntosh (Cherubino, the Count's Page) are now free to give life to the music and words of this very intricate story of traded identities and interwoven sub-plots. At the heart of all of this is the attempt to divert the count’s amorous intentions away from Susanna and back to his rather unhappy wife.
Getting that light comedy touch needed for a work like this is always a delicate balance for any performer, but to do it also as an opera adds an extra dimension of difficulty, and everyone here had their timings and vocals just right for me. The relationship between Count Almaviva and Figaro, master and servant, and the constant interplay of just who was really in charge of things here was balanced so well between Edward Jowle and Ian Rucker, and it was always fun to watch and listen to. Likewise, the relationship between Susanna and the Countess. The moral here is that wealth does not bring you happiness, and Ava Dodd and Alexandra Lowe were another good on-stage match. Weaving in and out of everyone's story lines with good effect was Simone McIntosh as Cherubino.
Despite this tale being called "The Marriage of Figaro", it is Ava Dodd as Susanna who really gets the centre stage here and holds so much of this story together, and tonight her performance was full of charm and warmth, and both Figaro and the Count could have been in no doubt as to who was really in charge here.
This story always leaves room for some good performances too from Doctor Bartolo (Edward Hawkins), Marcellina (Jeni Bern) and Don Basilio (Luvo Maranti), and everyone made the most of their respective roles tonight.
Review by Tom King (c) 2026
www.artsreviewsedinburgh.com
First performed in 1786, "The Marriage of Figaro" was, with its obvious satire on the class system, a huge risk for Mozart (music) and Lorenzo Da Ponte (libretto after the play by Pierre Beaumarchais). Together, the two risked offending the very wealthy patrons and society upon which they hugely depended for their livelihoods. With a combination of spectacular music and a libretto that is full of humour, the duo not only managed to get away with some scathing comments on the class structure of the day, but created along the way a hugely popular work too. Sung in English, this production’s translation by Amanda Holden captures that original sense of fun whilst updating this libretto for modern audiences.
From the moment that the curtain rises, it is obvious that this is a production has had a lot of time and care put into the stage sets. Lighting, costumes and choreography are impressive and draw you into this world of bright colours and textures. This is Figaro's world, and it captures the lively fun of the music and libretto perfectly. Much of the credit for this must go to designer Simon Higlett and his team. Special mentions here to Mark Jonathan (lighting designer) and Kally Lloyd-Jones (choreography) are also needed.
With Figaro's world now firmly in place on stage, this main cast of Edward Jowle (Figaro, valet to the Count Almaviva), Ava Dodd (Susanna, soon to be wife of Figaro), Ian Rucker (Count Almaviva), Alexandra Lowe (Countess Almaviva) and Simone McIntosh (Cherubino, the Count's Page) are now free to give life to the music and words of this very intricate story of traded identities and interwoven sub-plots. At the heart of all of this is the attempt to divert the count’s amorous intentions away from Susanna and back to his rather unhappy wife.
Getting that light comedy touch needed for a work like this is always a delicate balance for any performer, but to do it also as an opera adds an extra dimension of difficulty, and everyone here had their timings and vocals just right for me. The relationship between Count Almaviva and Figaro, master and servant, and the constant interplay of just who was really in charge of things here was balanced so well between Edward Jowle and Ian Rucker, and it was always fun to watch and listen to. Likewise, the relationship between Susanna and the Countess. The moral here is that wealth does not bring you happiness, and Ava Dodd and Alexandra Lowe were another good on-stage match. Weaving in and out of everyone's story lines with good effect was Simone McIntosh as Cherubino.
Despite this tale being called "The Marriage of Figaro", it is Ava Dodd as Susanna who really gets the centre stage here and holds so much of this story together, and tonight her performance was full of charm and warmth, and both Figaro and the Count could have been in no doubt as to who was really in charge here.
This story always leaves room for some good performances too from Doctor Bartolo (Edward Hawkins), Marcellina (Jeni Bern) and Don Basilio (Luvo Maranti), and everyone made the most of their respective roles tonight.
Review by Tom King (c) 2026
www.artsreviewsedinburgh.com