Thrice-delayed due to pandemic-related shutdowns and a building demolition (R.I.P Chelsea Market Theatre), Classical Theatre Company has finally unleashed its production of The Marriage of Figaro by Pierre Beaumarchais and translated by Executive Artistic Director John Johnston.
Bursting with comic vitality and animated performances, this classical farce contains the physical humor, the improbable disguises and outlandish behavior without all the slamming doors and ostentatious sets meant to reflect the chaos and absurdness of the story’s events.
Directed by Johnston, this production is a PG-13 romp. Entertaining and amusing. Enjoyable and lighthearted. It’s a humorous show that takes itself as seriously as the material demands while allowing the actors to indulge in the farcical elements of the script. Who knew a story about two servants, Figaro (Calvin Hudson) and Suzanne (Elissa Cuellar), trying to get married could become so needlessly complicated yet thoroughly delightful?
Figaro and Suzanne are servants of Count Almavira (Kregg Dailey) who is married to the Countess Rosine (Brittny Bush). Figaro and Suzanne plan to get married, but the Count wants to start an affair with Suzanne. In trying to stop the count’s advances on his fiancee, Figaro initiates a plan. Cue hijinks and shenanigans.
In true farce form, the Countess’ music teacher, (Dwight Dailey), the Countess’ godson (Wesley Whitson), the gardener (Benito Vasquez), the gardener’s daughter (Carolyn Richards), the housekeeper (Lyndsay Sweeney), the Countess’ former guardian (Rodrick Randall), a judge (David Xavier Ramirez), a court secretary (Jonathan Robinson) and a random guy who no one knows (Christopher Nicanor) appear to impede or assist Figaro’s and Suzanne’s impending marriage.
Hudson’s and Cuellar’s chemistry ground this comedy that could instantly run away with itself as the plots and schemes become more and more outlandish. The friendship and rapport that Hudson and Cuellar imbue into their relationship evident by a silly secret handshake is both funny and touching. They have an understated physical language and awareness of each other when on stage that reminds you that they are to be married without reflecting the directness that characterizes the tone of this story and production.
Whitson dazzles as the derpy himbo. His sprite physicality and nimble expressions convey the youth and innocence of Cherubin without feeling like a shallow performance of ignorance. Even in the intimate space of the DeLuxe Theater, he plays to the gallery — never letting up from his ebullient performance.
Dailey shines in his manic displays of primary emotions. He shifts humorously from anger to self awareness as the jealous Count who wants to cheat on his wife. His scenes with Hudson and Whitson are highlights of this production. It’s like they compete for who can be the funniest, yet the competition never undermines the show. Instead in raising the stakes of what they’ll do to be funny, each performer becomes more exciting to watch and the choices they make contribute to the overall humor of the show.
Vasquez’s abrupt appearance is sudden and exciting as his delivery (or lack thereof) of certain lines bring the entire theater to raucous laughter. Nicanor plays the aloofness of the random stranger in such a flat tone that the juxtaposition of his monotonous tone combined with his verbal enthusiasm is such a dissonance, it couldn’t help but be amusing.
This ensemble commits to the absurdity of this play. They set the pace and tone of the comedy of this play rather than let the comedy overrun them. The energy never lags. They chew the scenery but this is a play that demands it, and Johnston conducts the tone and pacing of this show with skilled direction. Because they believe the play and act with sincerity, the play never veers into Looney Tunes terrain.
Marriage at Figaro, though written in 1778, feels refreshingly contemporary without sacrificing its early late 18th century nature due to an adept and thoughtful translation by Johnston. His decision to keep the sexism and nod to the racism of that era without sacrificing the charms of story show the narrative and aesthetic merits of producing this show even though there are outdated ideas in the text.
Johnston doesn’t ignore the problematic elements of the original French text, he lets the problematic elements act as sources for comedy, and it works. It’s difficult to translate comedy, but the idioms, word plays, and double entendres that he finds do well to update the text for a contemporary audience without sacrificing the integrity of the story.
Running at three hours with two ten-minute intermissions, this is the classic evening of theater. Rather than go to the movies, think about checking out this production. This is the perfect show to invite your friends or family who typically don’t attend theatrical performances or anybody who thinks they don’t like theater. Thank goodness Classical Theatre Company endeavored to bring Marriage to Figaro to Houston audiences. It’s well worth the wait.
Performances continue through November 26 at 7:30 p.m. Wednesdays and Thursdays, 8:00 p.m Fridays and Saturdays and 2:30 p.m. Sundays at the DeLuxe Theater, 3303 Lyons. For more information call, 713-963-9665 or visit classicaltheatre.org $10-$25.
This article appears in Jan 1 – Dec 31, 2022.
