Consider the hand you're dealt

When viewing a theater piece of any kind that has multiple casts, one must always be conscious of separating the production from the piece from the performers. Yet, at the same time, a show also must include those three aspects without distinction. When one falters, all falter.\nI recently reviewed the IU Opera Theatre production of "The Marriage of Figaro" by Mozart where I had many problems with the production values and the way it was presented and performed. I went over the weekend to view the second cast of the opera (every IU Opera Theatre production is double cast).\nWithout retracting my view of the production, I wanted to offer a view of my experience from Friday which I know felt vastly different from the experience of a week ago.\nAs graduate students Christopher Burchett and Sheila Murphy as Figaro and Susanna began the opera, I barely paid attention to the English translation and the huge set that surrounded them (or the lunacy that placed their marital bedroom in the foyer) -- I was fixed on their performances.\nBurchett, whose natural charisma has shown in every role he's played at IU (most notably beyond his Figaro Don Basilio in "The Barber of Seville") was a perfect match for the roguishness of Figaro. He never let the music or character play him -- he made it all work to his advantage and the result was hilarious and touching.\nSimilarly, Murphy's Susanna was very endearing with a beautiful coloratura that only heightened the characters whimsicality. If she could only learn to let go of the conductor -- she continually looked to him -- she will become an outstanding performer.\nAs if it were not enough, watching graduate students Corey McKern as the Count and Chandra Egger play the Countess Almaviva was the icing on the cake. McKern, whose wonderful regality and notorious inappropriateness (as he flirts with all of his servants, one can only smile and shake their heads) also brought a humility to his character through his sonorous and fervent singing. Egger gave the Countess the longing that is the definition of her character, not only with her somber singing, but with simple looks and gestures.\nThe best moments between the two came in the second act when they transcended their characters and became Wolfy and Stanzy Mozart arguing, through music, like a frustrated married couple -- a feat only achieved with Mozart's genius and the brilliant performances.\nI must also mention Lindsey Falduto as the page Cherubino. Though I felt that Kimberly Gratland James was made to play the role last weekend, I must admit that Lindsey gave a very different, but wholly charming performance, that I can only be glad to have witnessed.\nAs always, the hand that one is dealt will often determine the way the hand is played. In the end, I put my production issues aside and let the three-and-a-half hour opera play before me in the seamless line I'd hoped for a week ago -- and this time there was no yawn.