Often overshadowed by the Operatic version this hilarious romp remains tellingly relevant as Figaro himself explains “I took up my pen and wrote a book everyone admired that offered the modest suggestion that the rich should pay more tax than the poor, speculators should be responsible for their own losses and government ministers should not accept gifts from wealthy merchants.”

Figaro, man servant to Count Almaviva, is engaged to Suzanne, maidservant to the Countess. The problem is that the Count, who has only been married 3 years himself, will not sign the marriage contract allowing the marriage to go ahead as he has “other plans” for Suzanne. A Figaro-ian scheme is needed to persuade the Count of his love for the Countess. But Suzanne and the Countess are dubious of its success and decide to take matters into their own hands. With lots of mistaken identities, broken promises, a love sick page, Antonio the gardeners melons, a birthmark in the shape of a spatula and lots of doors and letters, this hilarious romp set in late 18th century Spain highlights the difference in the class structure of the day.

When written in 1778 Le Mariage de Figaro by Beaumarchais was initially banned by the censors for its criticism of the French Aristocracy and shows us the growing revolutionary thinking in France at that time.

2 September – 14 October, Genesian Theatre, 420 Kent Street, Sydney