Figaro – A New Musical

Figaro – A New Musical

Before diving in, I’ll admit I thought this was a musical adaptation of The Marriage of Figaro. The name alone led me to that assumption, but no—this is something entirely different. The only connection is the Italian setting, and even that feels loose.

The story follows Sienna, a young woman dreaming of stardom, while her father insists she stay grounded. A trip to the market changes everything, though I won’t spoil the plot—partly because I’m not sure I could if I tried. The narrative takes wild turns: Sienna hears her dead mother, Figaro wields hypnotic powers, characters die and come back to life (or maybe we’re in the afterlife?), and at times, it feels like everything might just be one big hypnotic spell. A little clarity would’ve gone a long way.

The cast, though small—five adults and two children—held the show together brilliantly. The children, Cian Eagle-Service and Sophia Godman, were absolute standouts. Their singing, dancing, and comedic timing were spot-on, with Eagle-Service’s moment as Gianni swigging from a hipflask being a particular highlight.

Stylistically, the show matched its confusing nature. Cayleigh Capaldo, as Sienna, delivered powerful ballads, while Aimie Atkinson’s Lucia brought a modern, upbeat energy with lyrics peppered with casual “baby.” Jon Robyns as Figaro had his moments, but the character’s potential felt underexplored. Figaro should’ve been more charismatic and persuasive, with a sharper, more shocking shift in personality. Instead, the transition felt underwhelming.

For a two-night-only show, I wasn’t expecting lavish production values, but the set and costumes left me puzzled. Given the title, and the traveling performance troupe, I imagined something tied to opera buffa or commedia dell’arte, with traveling wagons and a rustic Italian vibe. Instead, we got red brick walls, sparkly lights, and canned applause. The black staircase with an unpainted pine banister looked oddly out of place. The costumes didn’t help ground the time period either—Figaro’s top hat, corset, and jacket clashed with body stockings, ball gowns, modern pistols, and handbags. It was a visual mishmash that didn’t quite land. Even the music had moments that didn’t sit right. The first song’s use of “no more” instead of “any more” felt off, though I’d need another listen to pinpoint why.

The second act ramped up the energy and layered the storyline further, but it still left me with too many questions. The “is it or isn’t it” approach was intriguing but ultimately frustrating—I needed more clarity. Figaro, as the magical villain, could’ve been either irresistibly charismatic or darkly brooding. Instead, he fell somewhere in between, lacking the impact the role demanded.

And then there was the finale. Figaro’s closing line about “friends on the other side” while wearing a top had and swinging a magical charm was a little too reminiscent of Disney’s Dr. Facilier. It felt like an unnecessary nod that pulled me out of the moment.

With some workshopping and a clearer vision, this production has the potential to be something special. The talent is there, the ideas are intriguing, but it needs a stronger sense of direction and cohesion to truly shine.

photos by Fahad Aliniz