Department of Theatre and Dance in conjunction with
The School of Music-Opera Theatre
present:
Mozart’s musical and comedic genius shine in this charming opera.
February 8-10 at 7:30
February 11 at 2:00
Albert Taylor Theatre, Shilling Hall
Millikin University, Decatur, IL
Director
Terry Stone
Music Director/Conductor
Timothy Schmidt
Set Designer
Matthew Borysewicz
Costume Designer
Barbara Mangrum
Lighting Designer
Kathleen Atwell
Cast
 Figaro
Adam Stefo
Jesse Upah 
Count Almaviva
DJ Robinson
Countess Almaviva
Christina Simonin
Emily Sites
Susanna
 Alexandra Batsios
Victoria Watts
Cherubino
Allison Lingren
Allison Novak
Antonio
Matthew Miller
 Marcelina
Christina Paul
Basilio/Don Curzio
Sean Stephenson
Barbarina
Lindsay Brault  
 Bartolo
Andrew Brown  
Women's Chorus
Alyssa Callaghan
Emily Cole
SarahEmily Lekberg
Amy Warters
Jennifer Wenzel
Men's Chorus
Scotty Mincey
Michael Mkrtschjan
Matthew Sullivan
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Crew
 Stage Manager
 Sarah Ramos
Assistant Stage Manager
 Adelaide Lee
Maria DeFabo
Assistant Costume Designer
Rikki Techner  
Technical Director
 Rob Kovarik
Assistant Technical Director
Kyle Van Sandt 
 Production Manager
Sarah May
 Properties Master
 Megan Hoffman
Paint Charge
Maggie Crawford  
Costume Director
Jana Henry, Kendra Bell
Assistant Costumer
Glenda Richardson
Costume Crafts
Jimmy Goode
Hair/Makeup Designer
Melissa Pleiss
Wardrobe Supervisor
Jen Geary
Master Electrician
Vince Modugno
Asst. Master Electrician
Becca Luxner
Shop Foreman
Nick Adelsberger
Rehearsal Pianist
Grace Huang
Han-Yuan Wang
Bruce Gibbons
Synopsis
At his castle near Seville in 18th century Spain Count Almaviva is determined to seduce Susanna, the fiancée of his valet Figaro, using whatever means necessary. Allied with the count are several enemies of Figaro including the older Marcellina who has plans to marry Figaro herself. Figaro, Susanna and the Countess Almaviva match wits with this group in an effort to foil the seduction and turn the count’s affections back to his wife. Plots, counter-plots, surprise revelations as well as the constant amorous interruptions of Cherubino, a young page, result in a series of comic mishaps and misunderstandings which Figaro must constantly use his wits to turn to his advantage. The count fumes as Figaro and his female companions succeed in catching him in his own net, and finally peace returns to the Almaviva household
from the Director
Notes
First performed in Vienna in 1786 The Marriage of Figaro continues to entertain and delight audiences today. The biting political and social satire of Beaumarchais’ La folle journée ou Le mariage de Figaro on which the opera is based seems ill-suited to adaptation into the ‘stock’ characters, situations, frenetic pacing and broad humor of 18th century Italian comic opera style. Yet Lorenzo DaPonte (librettist) and Mozart successfully retain the flavor and energy of the original play while adding the pacing and humor of Italian comic opera form and characterization. Mozart’s miraculous score binds these two dramatic styles together in extraordinary fashion. His genius for musical characterization as well as musical complexity allows him to capture emotions in simple and complex arias as well as small and large ensembles, always able to find uniquely appropriate form and feeling for each character. The popular Italian comic opera finales at the end of acts, in which new situations and surprise entrances follow one another at breakneck pace particularly lends itself to Mozart’s genius. His music changes in key and tempo to embrace every new emotion and revelation. The Act II and Act IV finales in this work are rated among the finest ever written.

In all of Mozart’s comic operas the interplay of humor, and even buffoonery, with genuinely moving emotional experience, heightens the impact of both. We are reminded that our appreciation of each is linked, and even enhanced by their mutual existence. If the Beaumarchais play is more radical and open in its criticism of the European social structures of the time (and it was banned from production in virtually all the capitals of Europe), the opera delves more sensitively into the subtle dynamics of power and trust on the personal level. The complexity of the relationship of Count and Countess still strikes true today, as does the plight of Figaro and Susanna struggling to defy a tyrannical employer (and social superior), without losing their livelihoods. In the end, as always, it is grace and unquestioning forgiveness, personified by the Countess, which at last bring harmony (perhaps only briefly!) to the lively, disparate, clever, willful and wily cast of The Marriage of Figaro.
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