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“The Barber of Seville” is a grand example of grand opera, full of farce and familiar strains and music with characters that are easy to like and appreciate.
And it is a work that the Utah Festival Opera Company has done before, the last production being in 2001, causing some who had seen it at the Ellen Eccles Theatre before to compare the two productions.
The prelude to the opening matinee of “Barber” was smooth and flowing, which may have been some indication of how the two productions might compare. The opening scene on a street by Dr. Bartolo’s house, where Count Almaviva (Jordan Bluth) begins his courting of Rosina, is a beat slow and mediocre, though smooth and flowing.
Soon, though, it picks up as Figaro (Kyle Pfortmiller), barber and general busy-body, makes his appearance. Pfortmiller really is the star and salvation of the this production. He never strains of voice, fills the theater with ease, and lets his face tell half the story. He obviously enjoys the role. Figaro is enjoined by the count to help him win over a ward of the much-older Dr. Bartolo (Stephanos Tsirakogulou). As operas would have it, Count Almaviva has seen Rosina (Millinee Bannister) once from afar and now can think of nothing else.
Assisting the doctor, though, is Don Basilio, a conniving music teacher who plans to destroy the reputation of the new visitor. Basilio (played by Kevin Nakatani) has a highlight with his solo that describes the power of gossip. The scene also displayed a wonderful bass voice from Nakatani.
But as intermission draws near, most of the first act is more flowing than fun, more plodding than other productions of “Barber” have been. The comedic possibilities were downplayed in this version, or if not downplayed, certainly not pushed over the top, like warm memories suggest from the former production. Is that a good thing or a bad thing? Though credible and very easy to listen to, at intermission “Barber” felt a bit lackluster.
But the second act lightened up and felt like it went much faster with more fun — wigs are lost, new identities are undertaken, love is attempted. A scene, for example, when Tsirakogulou forces his character to sing badly during one of Rosini’s music lessons, is very likeable. Understand, though, that is was a major put on, because Tsirakogulou is one several strong voices on the day, led by Pfortmiller. Bluth seemed to lose strength and volume on some higher ranges of notes, but only nit-picking would fault any of the music heard.
At it’s heart, “Barber” is a farce surrounded by grand music and will be a pleasure to view in any decade when as well-done as is this UFOC opener.
Grade: B.
To use some in-vogue buzz words from current popular culture, “Guys and Dolls,” as produced by the UFOC cast, is “very accessible” and is certainly “audience-friendly.”
It might even be considered “green,” as it uses actors recycled from other productions and many even play multiple characters within the show.
But for sure it should be considered “must-see.”
The orchestra pops into full-throttle action at the show’s beginning and an abstract-esque, gritty set design by Robert Little provides the perfect functionally open and eye-candy backdrop.
All men’s ensembles had wonderful harmony and togetherness, beginning with Benny Southstreet (Jordan Bluth), Rusy Charlie (Stefan Espinosa) and Nicley-Nicely Johnson (played by long-time Logan favorite W. Lee Daily) who open the show with “Can Do.”
Soon we are introduced to Nathan Detroit (Kyle Pfortmiller), a street character who has been running a “permanent floating crap game” and extending his 14-year engagement to doll Adelaide (Carianne Wrona) at the same time. He has the double problem of hiding the game from both the police and his fiance. Sky Masterson (Mark Womack) is also a king of the streets, famous for making bets and never losing.
A bet between the two is made that involves Sara Brown (Vanessa Ballam), who assists at the Save-a-Soul Mission just off Broadway. She is assisted at the home for repenters by Arvide (Michael Ballam, UFOC founding director and her father) and UFOC veteran Vanessa Schukis, who plays Gen. Cartwright at the Salvation Army-like rescue center. Sky bets Detroit that he can persuade conservative Sister Sara to take a trip to Havana with him, an unlikely prospect at best.
Well, without giving away too much, the Havana scenes in this production are some of the best of the night. The fight scene, the dance numbers and Sara’s warming toward Sky are all fun and well-done.
Womack was a perfect cast for Matterson, with his piercing eyes, solid jaw, and jaw-dropping bass voice. Every time he opens his mouth — especially for the well-known “Luck Be a Lady Tonight” and the somber-toned “My Time of Day” — Womack wins over the audience. All of the dancers and dance numbers are eye-catching and perfectly performed.
While Masterson keeps tabs on a possible blossoming love affair with Sara, Detroit, meanwhile, is wrestling with his obligations toward Adeline. The interaction between these two, in fact, is woven throughout the production. Wrona wins fans as she laments throughout the show about how stress over not being married can “cause a cold,” or worse. She has a nice mixture of top-notch singing voice and just-enough-nasal Bronx accent.
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