Review of ‘Figaro’: “Unwedded elements”

London’s West End hosts the first-ever performance of this new original musical – bringing fantasy, romance, and peril to the stage through a sumptuous story told by a star-studded cast. Guillermo Nazara shares his views on the show, to let us know if this neo-bohemian venture managed to take audiences on a rhapsodic jaunt.

Every story has been told. There’s nothing surprising about that. We take from others the same way that we take from ourselves. But that’s actually the beauty of art: it’s ability to introduce us to something we know in a way we’ve never seen before. We all love romance. We all love danger. And we’re definitely rooting for tales about underdogs trying to find their own space in a prefabricated world. So when all of those ingredients come together, there shouldn’t be a single chance for the recipe not to work.

Last night, the London Palladium hosted the first-ever rendition of Figaro, an original musical brought to the stage in a concert version, featuring a West End star-studded cast. With music, lyrics and part of its book by Ashley Jana, from a concept created along with director Will Nunziata, the show takes audiences on a journey of pop-based mysticism – unleashing an emotion-charged narrative of passion, lust and betrayal.

Phantom of the Opera meets Moulin Rouge in this explosive blend of 90s-style burlesque and the bohemian Belle Époque, as we plunge into a supernatural universe led by Figaro – a mysterious, insidiously charming performer whose hypnotic powers soar beyond the stage. It’s a premise no-one can’t help but be intrigued by at the very least. Its possibilities are, in fact, countless – with so many moments crying to come out, it almost looks like the show writes itself. That may have been, in fact, the case. But if so, the ink seems to have gone a bit dry during the honing phase.

Figaro is a myriad of good efforts. It’s packed with enchanting tunes, most of which are absolute earworms. The basis of its plot is also enthralling. It exudes fantasy, desire, and lavishness – it’s the kind of theatrical allure nobody can escape from. And yet, none of this promises are fairly realized – all the time, giving us the sensation of something that could be, and which was very close to being; but wistfully, never was.

The problem resides in the lack of development in practically every aspect of the piece. Composer Ashley Jana proves a superb aptitude to craft highly seductive, memorable melodies. However, no number leaves us with a complete sense of fulfillment. The absence of structural resources is too noticeable. The themes are stretched over and over again with very little variation – there are hardly any key changes or counterparts to add interest and strength to their evolution, and their endings often feel abrupt and unable to provide any hint of conclusiveness.

As a result, our enjoyment of the score is only partial. There’s no denial that the songs are captivating (you would probably spot me moving my hands in full conductor’s mode last evening), but their execution is nonetheless flawed. The fact that the lyrics are scarce in subtlety, proper rhyming and prosody doesn’t help either. The topics they want to explore are the right ones, and they are also presented right on our faces. That’s precisely the issue. Their poetry runs low through a rather banal delivery – replete with cliches and shallow observations that bring no insight whatsoever.

Similarly, the dialogue continuously struggles in terms of flow and naturalness – a defect that’s shared by the many holes the recount has, as well as a shortage of character arcs, introspection, and pacing. All personages strive to evolve, and the action is blemished by the a dearth of suitable twists and anticipations, apart from a flood of loose ends.

We can still praise the overall brilliance of its rather exquisite cast, whose genuinely astounding vocal skills became the ultimate star of the night. Flaunting solidity in her technique all throughout, Cayleigh Capaldi made one of the most enduring appearances as protagonist Sienna – playing her character with elegance and flair. On the other hand, Jon Robyns channeled glamour and magnetism through his menacingly attractive portrayal of the title role. However, the highest mention goes to child performers Cain Eagle-Service and Sophia Goodman, for their exceptional display of bravura from both an acting and singing perspective.

No great musical was great in the beginning. Some concepts are not even worth the start anyhow. Figaro does not at all belong to the latter, but it hasn’t achieved the former either. With a grand germ that’s begging for a second opportunity, the piece has all the constituents to make of it an extremely palatable experience, but it must replace this initial superfluous approach for a more savoury jaunt that brings further poignancy, thrill, and adequate storytelling into what, as of now, is an uncooked melange of ideas. The wonders of its lore may have been cited, but they are still to become a reality onstage.

All pictures credit to Fahad Alinizi.

Figaro plays at the London Palladium until 4 February. Tickets are available on the following link.

By Guillermo Nazara