Listen & Be Heard Weekly Archives

A woman?s guide to love according to Beaumarchais? The Marriage of Figaro: ?Be beautiful if you can, be good if you must, but above all don?t get caught!? Thus the antics ensue in [tag]Center REPertory Company[/tag]?s production of the 18th century madcap comedy, now playing through October 7 in [tag]Walnut Creek[/tag].

Center REP?s new Artistic Director, [tag]Michael Butler[/tag] helms this modernized version of the classic play which inspired both Mozart and Rossini. Butler mixes classical music set to a rock beat, a punked out ensemble, and quasi-traditional costumes in garish colors to often enjoyable but inconsistent comedic effect.

Extremely consistent is our hero, the quick-witted valet Figaro (Craig W. Marker). Marker is clever, likeable, and a constant delight as he orchestrates much of the action. Engaging as much as engaged, Figaro has definitely found an equal in his beloved Suzanne (Jessa Brie Berkner). Berkner is sharp and bold, and the duo?s chemistry is unmistakable. We root for them to overcome the many hurdles that lie between them and the altar.

Their greatest hurdle is Figaro?s master, Count Almaviva (Andrew Hurteau) who has designs on Suzanne. Far from succumbing, she plots with the Countess (Cassie Beck) to catch the would-be philanderer. Hurteau and Beck are good but stop short of great, occasionally playing for laughs and forcing moments. Unexpectedly more comfortable in her over-the-top characterization is Lizzie Calogero. Calogero skillfully embodies young page Cherubim, the breeches role from Mozart?s opera. She convincingly pines for women in general but most particularly the Countess. Despite Calogero?s conviction and charm as the rock star-esque lad, Butler?s choice to pay homage to another genre creates some confusion for those unfamiliar with the convention.

Of the supporting cast, Richard James is a standout as the deliciously broadly drawn Dr. Bartholo while Pat Parker as his counterpart Marceline hits her comedic stride only in the second act. In fact, the whole show doesn?t find its groove until after intermission. This flaw is partly structural, with exposition finally giving way to farcical frolicking later in the play. It?s also partly directorial. Butler layers strained comic bits into the first act, many of them falling to the hit-and-miss ensemble. Happily, the awkwardness is forgiven if not forgotten beginning with Figaro?s day in court which opens Act 2. Kerri Shawn is fun as corrupt Judge Brid?oisin, and traipsing amongst the topiary, Kate Del Castillo is amusingly annoying as dim bulb Fanchette.

The topiary is just one of the delightful elements of Kate Boyd?s set. Boyd adds bright velvets and feathers for texture on as many entrances and cubbies as made Laugh-In great. Costumes by B. Modern are well-crafted but the cacophony of color and style against Boyd?s set produce sensory overload. Jeff Mockus? sound design is similarly jumbled, with technical issues grating on the ear, but Christopher Studley?s lighting vibrantly enhances.

Center REP?s [tag]The Marriage of Figaro[/tag] might be subtitled Baz Luhrmann hosts SNL at a rave. The visually dynamic. sometimes inspired [tag]comedy [/tag]set to a thumping beat appeals mainly to young audiences, though it retains enough of Beaumarchais? biting wit to satisfy some of the rest of us. Call (925) 943-SHOW or visit www.dlrca.org for tickets and info.

[tags]theatre review[/tags]