The Barber of Seville

An unfinished set. Enter the Count in purple underwear. Count: "We are without costumes," Stagehand; "The set isn't even finished yet." Audience: "Titter."

With Mandalayan subtlety it dawns on us what director Joel Schwartz is up to. He is putting on a comic opera and he is distinctly uneasy about it. He says in a program note he has "used the technical aspects of the production to reinforce the conventions of dramatic and musical structure." He might better have said, "to excuse" them.

A cardboard set looks silly in the middle of the Lowell House Dining Room, so Schwartz has the stage hands finish building it during the performance. Rather than leave Robert Kettleson (Count) standing agape when Robert Croog (Figars) is singing at him, he has him fall asleep--because of an all-night, we are informal. Thomas Weber (Bartolo) doesn't manage to get dressed until the final scene. And lest anyone suspect him of taking a production of Paisiello's Barber of Seville at all seriously, Schwartz throws in the usual sighs and winks and swaggers.

But why so self-conscious? Why couldnt they play it straight? Light opera is supposed to be foolish--the audience will discover that on its own. The characters aren't supposed to be realistic. But they have to appear to think they are. A deadpan is much funnier than a smirk.

What is the point of a stagehand appearing in the middle of aria who paints the same white patch of scenery she painted in the last scene, again with a dry red brush? If the cast has to flirt with the crew, couldn't they be more convincing--and remember their infatuations in the next act?

If Schwartz didn't think he could make the unadorned illusion stick he should have watched his Figaro. Croog at once completely unbelievable and completely right. Even staring out at the audience with opera glasses a love duet he remained in character.

I can't speak for the technical quality of the music, but certainly was the life of the production. Coordination between the singers and the orchestra, which was off to the left of the stage, was surprisingly good, the timing of intricate comic songs, nearly perfect.

The acoustics in Lowell Dining Room aren't conductor Joel Lazars fault but the size of the orchestra is. The people to the left center must have missed a great deal of the singing.

Sandra Stuart Robbins had by far the best voice in the cast. Apparently she saved it, for her tone improved steadily. Like Croog, she was unafraid of a conventional characterization, and was consequently charming.

Kettleson, too, did a fine job with the music, though I wish his voice had been stronger. Weber sung less brilliantly, but played with more convincing gusto. Randolph Lindel (Sveglioto) and Martin Wishnatsky (Giovinetto) performed their sneeze-yawn duet with suitable enthusiasm.

This could have been an elegant and amusing production. The talent was there. And even as it is, it's enjoyable. But Schwartz has cluttered the show with all-executed tricks. Gilding his lily, he makes it droop.

I can't speak for the technical quality of the music, but certainly was the life of the production. Coordination between the singers and the orchestra, which was off to the left of the stage, was surprisingly good, the timing of intricate comic songs, nearly perfect.

The acoustics in Lowell Dining Room aren't conductor Joel Lazars fault but the size of the orchestra is. The people to the left center must have missed a great deal of the singing.

Sandra Stuart Robbins had by far the best voice in the cast. Apparently she saved it, for her tone improved steadily. Like Croog, she was unafraid of a conventional characterization, and was consequently charming.

Kettleson, too, did a fine job with the music, though I wish his voice had been stronger. Weber sung less brilliantly, but played with more convincing gusto. Randolph Lindel (Sveglioto) and Martin Wishnatsky (Giovinetto) performed their sneeze-yawn duet with suitable enthusiasm.

This could have been an elegant and amusing production. The talent was there. And even as it is, it's enjoyable. But Schwartz has cluttered the show with all-executed tricks. Gilding his lily, he makes it droop.