The Barber of Seville (or Salisbury) – review

Founded at the Cock Tavern last October, OperaUpClose has moved to a more permanent venue at the King's Head. For its relaunch, it swaps the intimate romance of La Bohème for the sharp-edged comedy of The Barber. The canonical setting is transferred to Jane Austen-period Wiltshire, conjured effectively by Oliver Townsend's designs.

Much of Robin Norton-Hale's translation works well, though cutting the chorus loses us the crucial moment when the Count, here the Marquis (sic) of Bath, pulls rank on Dr Bartolo, alias Bartleby. Such details matter, because Rossini's piece is a fundamentally serious social comedy. Here, all too often, it descends into a farcical romp, with the hardworking cast visibly aware of how funny they – as opposed to their characters – are being. A fundamental rule of comedy is broken.

Rossini is also a tougher vocal assignment than Puccini, and though all the voices are strong – even a bit fierce in this tiny space – not all negotiate their ornate lines with enough precision. Susan Jiwey's Bertha delivers her aria crisply; Richard Immergluck's Figaro, while a bit backward in coming forward, remains eminently likable; and David Freedman is an astute Mr Basil.

Plucky and purposeful, Belinda Evans has mixed success with Rosina, and is inclined to overplay her dramatic hand; so is Gareth Dafydd Morris's stentorian Marquis. And Dickon Gough reduces the dangerous Bartleby to a harmless camp cartoon. Alison Luz makes a presentable stab at conveying Rossini's score on the piano, but firmer musical direction would tidy up more loose ends. This opera house in a pub is a worthwhile venture, but has not yet hit its form.