by Scott Renshaw
Gioacchino Rossini's "The Barber of Seville" is an opera company's dream production. For the aficionado, it has witty arias and one of opera's most instantly recognizable overtures; for the novice, it has an appealing comedy of errors as its central story. A director faces the choice of which audience he wants to target, and it is no slight to suggest that David Sloss's staging of "The Barber of Seville" for West Bay Opera nods to a more contemporary style of farce, because the result is quite energetic and entertaining. Based on the play by Beaumarchais, it is the story of a nobleman named Count Almaviva (Brent Damiker) who adores from afar the lovely Rosina (Shawn Marie Williams in the performance reviewed, though the role is alternated with Carol Lynn Rohr). Almaviva wants to be sure Rosina loves him for himself and not for his title, and thus pretends to be a poor student intent on wooing her. Unfortunately, there is an obstacle in the person of Rosina's guardian, Dr. Bartolo (Rick Williams), who desires to be married to his ward himself. In need of assistance, Almaviva turns to Figaro (Roderick Gomez, alternating with Todd Donovan), the town barber who also has a certain gift for getting things done. Figaro sets Almaviva on a complicated series of deceptions which cause confusion at every turn.
Making use of Donald Pippin's excellent English translation, David Sloss has directed a rendering of "Barber" that is both sly and broadly comic. At times, the broad comedy is a bit distracting. During Almaviva's opening aria, for example, a character on-stage fumbles with putting together his clarinet, drawing too much attention away from the singer. More frequently, however, he incorporates his physical humor deftly, such as at the end of the second act, when Figaro amuses himself by toying with characters frozen in place.
It is a challenge to make the acting in an opera consistent with its tone, particularly given the added challenge of finding performers whose dramatic skills match their vocal range. The performances in "Barber" are a bit uneven, with some of the roles played considerably more broadly than others. Roderick Gomez is a charming Figaro, an unapologetic schemer who delights in his role as town fixer; Gomez does the best acting, though he seemed a bit out of breath (understandably) as he reached the end of the "Figaro" aria.
On the opposite end of the spectrum in tone, though not in talent, is Rick Williams, who plays the villain's role with dramatic gusto, blustering and posing to appealing effect. In between are the romantic leads, who overcome relatively minor drawbacks--Brent Damiker is a bit wooden as Almaviva, and Shawn Marie Williams wraps every syllable around her tongue before delivering it--to present a charming pairing.
Special mention is warranted for a splendid set design by Jean-Francois Revon, part of a production that is impressive all around on a technical basis. Jun Nakabayashi directs the orchestra with spark (although the music does overwhelm the singers at times), creating a show with as much delight for the ear as for the eye. Most significantly, West Bay's "Barber" rarely lags once it gets past the necessary exposition of the first act, no small accomplishment for a production that runs three hours. For every level of opera fan, "The Barber of Seville" is a cut above the rest.
What:West Bay Opera's production of "The Barber of Seville"
Where:Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto
When:Oct. 18 and 19, 8:15 pm: Oct. 20, 2 p.m.
Cost:$30 for adults; Oct. 20 only, $15 for under 18
Information:424-9999, Monday to Friday 1-6 p.m.
Back up to the Table of Contents Page