SUSU Theatre Group 
The Annex, University of Southampton, Southampton 
Darren Funnell
30 November 2024
Launching a new group of actors into the SUSU Theatre Group with Beaumarchais’ The Marriage of Figaro at the Annex Theatre feels like a modern-day initiation – more fittingly, a “marriage initiation game”. Talk about challenging. Love the ambition. Make no mistake, the play is long and layered, with an edgy point for its time. That point is rooted in Figaro and Susanna’s defiance against the Count’s feudal abuse of power, particularly his attempt to assert the “right of the first night” with Susanna, Figaro’s bride-to-be. This tension is more than just personal – it’s about changing power and privilege. Very relevant. Of course, these servants cuckolding the nobility will soon be “at the barricades”, so they have a bigger social and political shift to come which probably won’t be as amusing.
Women are at the heart of this narrative but, of course, they are never fully allowed to take the reins without manipulating the men around them through a series of games, secrets, and revelations. While these playful machinations are undoubtedly entertaining, they also reflect the limited respect afforded to women in the 1700s. It’s clear that in this world, everyone had far too much time on their hands – creating intrigue and mischief to fill the gaps of a society steeped in privilege and idleness which is mirrored in the run time.
Choice, choices. There are countless ways a director might approach The Marriage of Figaro – they could highlight the play’s subversive themes and put them under a modern lens, or they could allow the work to stand as a classic. Cicely Donnett, Raphael Trottier, and Tezni Williams seem to have considered all options but ultimately decided to let the play speak for itself. In the end, their decision to keep the production traditional worked well. The set and design evoke a classic Georgian feel, using the Annex Theatre’s stage to its fullest. The evocative costumes, paired with well-timed moonlight lighting, set the scene perfectly. This was, at its core, a comedy played with enthusiasm and energy, a showcase for new talent. While the pace sometimes faltered due to varying performance strengths, and the creative modern musical inserts didn’t always hit the mark for me, the cast’s vitality and spirit were always on point.
At the heart of the production is Samuel Duffy as Figaro, who brings not only charisma but sharp comedic timing to the role. He’s confident, quick-witted, and a natural on stage – always captivating in his scenes. Opposite him, Kiera Robinson as Susanna is equally impressive, matching Figaro’s energy with her own sharp intelligence. Robinson’s performance is grounded, capturing Susanna’s cleverness and resourcefulness, arguably making her the more compelling character. Both Duffy and Robinson excel in their interpretations, demonstrating resilience, stagecraft, and a chemistry that is integral to the play’s success.
The Count and Countess provide a striking contrast. Alex Braglewicz as the Count masterfully balances arrogance with charm, making him a charismatic but flawed figure. While he didn’t quite lean into the darker, more sinister aspects of the role, Braglewicz’s performance still makes him a standout. Meanwhile, Maile-Ana Crompton as the Countess brings depth and nuance to her character, particularly in her reflective moments. Crompton’s fabulous physicality flows across the stage, to protect doors, or to hide secrets. All very captivating.
Kanik Bridgeman-Wilson shines as Cherubin, exuding energy and mastering the awkward, lovesick physicality that is essential to the character and is often hilarious, always endearing. I also loved the stateliness of Marceline and Maria Afthonidou’s ability to make the most implausible ‘motherly’ plot point seem like it made complete sense.
Other supporting cast members, including Poppy Smith (Fanchette), Ethan Price (Antonio), and Luke McCrone (Doctor Bartholo), all offer memorable performances. They may not have had the biggest roles, but their contributions helped propel the energy and comedy. Mars Stephens and Emma Froud also deserve special mention for their gossipy exchanges during the well-executed scene changes, which added an extra layer of fun to the production.
Where this production truly excels is in its joie de vivre, playfulness, standout performances and knowing humour. The production’s boldness and spirited chutzpah carried it through, and in the end, the cast delivered a lively, fun foray into the world of Figaro (and Susanna).
