Go figaro
Legend has it that Pierre Beaumarchais’ Le Mariage de Figaro, the second in a trilogy portraying the infamous Barber of Seville, was instrumental in sparking the French Revolution. A witty, dynamic social satire, set in the eighteenth century, it is not an easy text to tackle even if French is your first language, so for many of the brave thesps stepping out in Wadham’s third annual French play next week, Le Mariage is a challenge not to be taken lightly.
Third-year linguist David Coghill portays the title role, the wily servant of a rich count who is soon to be married to the beautiful Suzanne (Alice Puritz). Whilst both actors manage the French dialogue with ease, the chemistry between the two is perhaps less convincing than their accents.
Coghill’s manic pacing forms an uncomfortable contrast to Puritz’s static and somewhat mannered disdain, an emotion which she seems to employ unrelentingly, giving her the air of a woman who is rather older and displays rather more bitterness than the vivacious Suzanne should. Coghill’s interactions with the Comte, played by fellow Russianist Huw Davies, are more engaging, as the power games between master and servant are emphasised by the disparity in their heights.
The well-cast Anja Bibby tackles the role of the older Comtesse with a stillness and an authority that belies her age, although like the Figaro/Suzanne relationship, that of the Comte and Comtesse shows little of the intimacy and affection that might be expected of a married couple.
With the language element adding to the gender-based casting problems usually faced in the Oxford drama world, directors Aurore Clavier and Claire Lannic have been forced to cross-cast some of the male roles, a decision which, in one case at least, was a blessing in disguise.
Romy Fursland is delightful as Chérubin, her fresh-faced youthfulness bringing out the innocence and energetic passions of the adolescent page, and forming a refreshing contrast to the rather heavy-handed tactics of some of the other actors. The cast deal well with Beaumarchais’ complex work; the snappy, witty interchanges are slick and well-rehearsed.
For a non-French speaking audience the dense dialogue may present some problems, although the elements of slapstick and physical comedy may combat this to an extent. The production seems unlikely to start any revolutions, but until the summer really takes hold you could do worse than while away a couple of hours untangling the intrigues of French courtly life.
4th May 2006