FOR one who never saw Mozart's operatic derivation, never mind the original stage play, Michael West's spritely version comes as a most entertaining surprise.
Reminded last night by the Abbey's artistic director (in a pre curtain speech asking the audience to give the traditional accolade to the late Geoffrey Golden whose death last week had hitherto gone disgracefully unrecognised) that this was the first Irish production in more than 200 years of a Beaumarchais work, one could feel less guilt about the sin of omission.
Ever glad to make up for that, this reviewer can record that here is a text well within the farcical constructs of M Feydeau, yet containing a much stronger centre of true sentiment, which requires the over the top seriousness in production and performance manifest in the more English version of the Whitehall farces.
Brian Brady's direction clearly recognises the seriousness of farce but is sometimes - too leadenly serious to allow the over the top element to make itself felt in the characterisations.
The plot is too convoluted by far to merit description, save to say that Figaro and Suzanne are determined to be wed. Their path is beset by obstacles created by all those in the Count's household determined on their own ambitions.
Mr West's and Mr Brady's transposition of the tale into a kind of rapid fire 20s jazz environment is sure footed, even if it not always quite lively enough to carry the narrative.
Andrew Bennett and Karin Ardiff as the marriage bent lovers are effectively open and mundane - a nicely earthy counterpoint to the arch sexual ambitions of their bosses Nick Dunning (the Count) and Anna Healy (the Countess). Among the other searchers after fulfilment are Des Nealon (Bartholo), Fedelma Cullen (Marceline) and Andrew Scott (Cherubim).
Des Cave is impressive as the lawyer whose fulfilment lies more in monetary than in marital reward and Brendan Cauldwell is superbly funny as the gardener who turns out to have more influence than his comic alcoholic chorus might - have led us to believe.
Moggie Douglas's towering settings are lavish and effective and well lit by Trevor Dawson with a very sympathetic musical accompaniment directed by Fiachra Trench and effected by David Nolan with appropriate choreography by David Bolger. Even if there is some plodding, this remains an evening of high artifice, great fun and good sentiment.
