Figaro (Troy Dunn) and Suzanne (Janae Burris) are about to be wed. Figaro is valet to the Count (David E. Frank), while Suzanne is chambermaid to the Countess (Cynthia Mance). At play's start, Suzanne watches Figaro measuring the proportions for a bed that's to be installed in their new quarters – within earshot of the Count. A bit of a dolt, Figaro doesn't realize (until Suzanne fills him in) that the closeness of the quarters to their respective employers is actually in the service of the Count's lechery. And so begins a series of traps to ward off the indignity of the Count's attempted restoration of an old right called primae noctis, in which the master of the house is entitled to deflower a bride from a lower class before her wedding. Following the plot's intricacies is like trying to follow the motions of moths around a lamp, though it does sort itself out, not unlike the ribbons and bows in Josephine Poisot's period costumes. And the new translation transfers the subtleties of French idiom very smoothly into English — with the added delight of actors occasionally lip synching from excerpts of Mozart's opera. The technique on display in Michel's production isn't yet pristine, but on opening night, it was close enough to make its point. The shenanigans unfold on Duncombe's production design of burgundy and blue, accented by two suspended chandeliers. The set's symmetry and elegance works in pleasing juxtaposition against the mayhem of interlopers hurling themselves out of windows, or pretending to. The solid ensemble works in tight conformity to the style: Frank's lecherous count is a comic standout of barely concealed slime, offset by the grace of Mance's weary, dignified Countess. And Maria Chirstina Benthall offers vivacious delight as the libidinous niece of the gardner. City Garage, 1340 1/2 Fourth St., Santa Monica; Fri.-Sat., 8 p.m.; Sun., 5:30 p.m.; thru May 30. (310) 319-9939.
Fridays, Saturdays, 8 p.m.; Sundays, 5:30 p.m. Starts: April 16. Continues through June 20, 2010
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