The Barber of Seville

Dan Chameroy as Figaro and Courtney Ch'ng Lancaster as Rosina in The Barber of Seville. Photo by Cylla von Tiedemann.

Adapted from the 1775 play by Beaumarchais and the 1816 opera by Rossini, Soulpepper’s The Barber of Seville is an update of Theatre Columbus’ 1996 production, a modern spin on the cherished play/opera that took home the Dora for Best Musical. In this version, Michael O'Brien and John Millard give the story a contemporary makeover, incorporating modern expressions and musicial references into the old-fashioned setting and script.

The story follows the libertine Count Almaviva (Gregory Prest) as he tries to win the hand of the young Rosina (Courtney Ch'ng Lancaster) aided by the mysterious and mischievous Figaro (Dan Chameroy) or the "barber of Seville." Together they concoct a plan to free Rosina from the household of her domineering guardian Don Bartolo (Oliver Dennis), employing all manner of tricks—diversions, hypnotism, disguises—to ensure her rescue. Even Don Bartolo's friend Don Basilio (William Webster) and his servents, Sancho (Lise Cormier), Pancho (Daniel Williston) and Bertina (Raquel Duffy) become unwitting players in the deceptive plot.

Accompanied by a terrific band of musicians—Rob Clutton (guitar), Rick Hyslop (violin, guitar), Tiina Kiik (accordion) and John Millard (banjo)—the cast performs a number of recognizable tunes that have been remixed with an element of folksy twang under Millard's musical direction. All of the actors sing with gusto, but Chameroy is by far the superior musical theatre performer, stealing many scenes with his powerful vocals, spot-on comedic timing and charming bravado.

Overall the production has a chaotic and care-free feel that works with the silly tone of the storyline. Characters regularly break the fourth wall, and are often on the verge of cracking up themselves as they fight to deliver some of the funnier lines (a particularly gut-busting scene involves Prest's Count Almaviva dressed as a seductive French singer). However, while O'Brien's script goes to great lengths to get laughs, not every joke is a winner. Much of the show's comic effect comes from the performers' physical reactions to one another, and as a result of Julia Aplin's zany choreography.

The Barber of Seville may not be perfect, but audiences won't be able to resist its feel-good charisma. See it until June 8 at the Young Centre for the Performing Arts. Visit soulpepper.ca for more information and to buy tickets.

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