(AD – PRESS NIGHT) OPERA NORTH’S THE MARRIAGE OF FIGARO REVIEW
HULL NEW THEATRE
THURSDAY 26TH MARCH 2026 @ 7.00PM
⭐⭐⭐⭐ 4/5
Time for another night at the opera, seeing my second Opera North production. I took my dad along for the press night again, and here’s what I thought of it with my Opera North’s The Marriage of Figaro review.
PRE-SHOW THOUGHTS
I’m not particularly well-versed in opera. As I said above, it will only be my second viewing of the art. What I do know is that it’s Mozart’s traditional score, but Opera North have put a modern spin on the production of the show. I either love a modern-day interpretation or I’m not a fan at all. However, I’m going in with an open mind, because I’ve no idea what to expect! This time last year, I saw their production of The Magic Flute, my very first opera, and was surprised at how much I enjoyed it!
THE CAST
We’re introduced to our four main characters instantly with two couples. Emyr Wyn Jones as Figaro and Hera Hyesang Park as Susanna are the ‘regular’ couple, and I won’t lie, initially, it felt very Downton Abbey (the Bates’ to be specific). Jones and Park had such believable chemistry, and their voices complemented each other so well. Park’s Susanna is on stage the most, but often as a background character. However, she’s unforgettable with her comedic timing and vocals, of course.
Our other leading couple sees James Newby playing Count Almaviva and Gabriella Reyes as the Countess, his wife. They have so much fun in these two roles, as they have a pretty wild storyline. I particularly enjoyed their solos in Act Three, where they dimmed the lights on one side whilst the other performed, but it was the same timeline if that makes sense. Think Satisfied/Helpless from Hamilton, but a couple as opposed to sisters instead! You genuinely believe that Newby is completely losing the plot towards the end of the show, proving that opera singers are incredible actors too!
I also have to give huge props to Frances Gregory as the gender-fluid Cherubino. I’ve no idea if this is a modern interpretation or if Mozart was just ahead of his time! It’s a demanding role, because they’re basically the goofy role in the show, but there is a lot of singing involved as well as multiple roles to play (I won’t spoil it anymore than that).
THE PRODUCTION
If you’re looking for a mainstream opera, this isn’t for you. The storyline is absolutely bonkers at times, as well as modernised, which I did enjoy. It’s easy enough to follow, despite being sung entirely in Italian (there are English surtitles on screens, though). However, I did get a little lost during the second act, as there were multiple subplots going on. The acting also helped to carry the story.
The music, along with the vocals, is what brings this production to life. Led by conductor Valentina Peleggi in her Opera North debut, the score is dramatic, and I recognised more pieces than I thought I would. Some of the music has featured in Mad Men and The Shawshank Redemption, so it was recognisable to many.
The main thing that I appreciate is that Opera North champions new visitors. I’ve always thought opera was an elitist art form, but their main mission is to broaden their appeal with new works and modern takes on the classics. The compere before the show also pointed out a high school group seeing their first opera; I never went on any theatre trips when I was at school, let alone opera!
FINAL THOUGHTS
It’s a long show, nearly three and a half hours (with an interval), but it didn’t feel that long. Whilst it might not be some people’s cup of tea, I really enjoyed the modern interpretation of costumes and set design. It made the storyline easier to understand, and the acting helped massively, too. I’m a big fan of Opera North, trying to modernise opera without taking away from the score. My dad and I are already taking mental notes of operas we’d like to see in the future!
If you enjoyed my Opera North’s The Marriage of Figaro review, you can find my other theatre reviews here. Don’t forget to follow me on Twitter, Instagram and TikTok too.
