If you have always thought that Grand Opera was not for you, then this production at the Warehouse might well serve as a plebeian introduction. Based on the Barber of Seville with its preposterous plot of forced marriage and mindless skullduggery we are still left with the magical melodies of the music of Rossini. I thoroughly enjoyed this adaptation by Tim Riley and John Lovat which was set in the 1950s with the DA haircuts and Teddy boy outfits.

The Marquis of Basingstoke (Patrick Ashcroft) looked an unlikely candidate for the glorious-voiced Rosie (Aurore Lacabe) until he came on in the second act disguised as the nun Sister Maria with a marvellous cod Italian accent. Figaro the barber was a sort of Welsh wide boy; a fixer with a sharp edge says the programme. Joseph Morgan played him perfectly and could sing quite a bit even while shaving someone. Well the Welsh have been known for it ever since Harry Secombe's day.

Mr Bart (Matthew Quirk) was the guardian of Rosie and owned half the tailor's shop and by wedlock could secure the other half she owned. The way he set about it seemed detrimental to his cause but as he too could sing we got to like him in the end.

Philip Canner played the nun Donna Basil, singing tutor to Rosie and for some reason the bank robber who deprived Mr Bart of his savings. He/she was susceptible to large bribes from the lovers and despite the criminality had a good line in comedy.

Frederick (John Furlong) was the valet to the Marquis and furthered the plot in the appropriate musical manner.

Comely housekeeper Bertha (Elizabeth McCall) kept a watchful eye on Rosie until taking up with Frederick enabling the evening to end happily.

The surprise character was Police Sergeant Dockson of Dick Green (Tony Harris) with his up-to-date political quips and believe it or not "Audience Participation" when we sang G & S's A Policeman's Lot.

The ensemble singing was splendid, Rossini's music magnificent; the cast seemed to enjoy every minute of it and so did I.

Peter Steptoe

4 stars