Melinda N. Biocchi ’08, Kurt C. Crowley ’07, Winnie L. Nip ’08, and James B. Onstad ’09 engage in a comedy of deception in “The Marriage of Figaro.” The opera is running through Feb. 17 in the Dunster House Dining Hall.

“If you are after a little amusement,” Figaro sings in the opening act of Mozart’s “The Marriage of Figaro,” “I’ll play the tune.” True to his words, John D. Kapusta ’09 (Figaro) and the rest of the Dunster House Opera (DHO) cast play the part of lying, cheating, and mischievous lovers well, amusing the audience consistently throughout the comedic opera, and for the most part delivering on their promise to make the opera “accessible.” Directed by Caitlin C. Vincent ’07 and produced by Matthew M. Spellberg ’09, and under the musical direction of John M. Sullivan ’09, the Feb. 9 performance of “Figaro” showcased the talent of the student-run group, which performed in the Dunster House Dining Hall.

The world of “Figaro” is one in which men who are themselves perfidious accuse their lovers of being “false and faithless,” as one character sings. Deceit and pranks that rival those of Shakespeare’s Puck abound in this opera, as the main characters—Kapusta’s Figaro; his lover Susanna, played by Winnie L. Nip ’08; the Count and the Countess Almaviva, portrayed by James B. Onstad ’09 and Katrin D. “Kathy” Gerlach ’07; and Marcellina and Bartolo, played by Anne E. “Annie” Levine ’08 and Jonathan M. Roberts ’09—mix and match, first to seek vengeance against those who have cheated on them, and second, to pair up successfully with the object of their affections.

Kapusta plays the clever Figaro superbly, with expression that rivals any skilled comedian’s. His diction is so good that the screen flashing the aria’s lyrics–well-placed to the side of the stage–becomes superfluous. Most memorable of all is his energy and playfulness, which shines in “If You Are After a Little Amusement.”

Gerlach, as the wronged Countess, displays amazing vocal and acting capabilities throughout the play, especially in “I Remember Days Long Departed.” Nip plays a strong and clever Susanna, adding character, humor, and vocal talent to the opera. True to his character’s name, Onstad expresses the Count’s jealousy, rashness, and “alma viva” perfectly, while also revealing a softer side. Melinda N. Biocchi ’08 adds humor to the opera in a memorable portrayal of Cherubino, the Count’s page.

Not only do the players act and sing well individually, but they also interact nicely to bring out the humor in the script. In one fast-paced exchange of wits, Kapusta, Onstad, Gerlach, Nip, and Matthew B. Bird ’10 (who plays the gardener Antonio) skillfully express the difficulty of deceiving each other on the spot, eliciting laughter from the audience.

Instead of setting the opera in the 18th century, director Vincent chose to set this production of “Figaro” in the 1960s. Her choice adds a layer of complexity to the work by drawing a parallel between the women’s liberation movements and the importance that the female characters have in cooking up mischief as much as men in the opera.

In this update, the characters take the role of politicians, with the Count and Countess cast as the Kennedy presidential couple. Vincent alludes to both the theme of deception associated with ’60s politics and to the many sexual indiscretions of John F. Kennedy ’40.

The costumes, exquisitely designed by Elisa M. Oliveri ’08, squarely place the opera in the sixties; the Countess’ Jackie O hairstyle is essential in helping the audience identify the Camelot couple.

The convertible set is attractive, but does not distract from the plot. However, the set changes before the second act took a bit of time on opening night, breaking up the pace of the narrative.

Under the direction of Sullivan, the orchestra played in tune and matched the vim and vigor of the cast in the second half successfully. The music in the first half could have been more crisp and energetic, but the cast’s singing more than made up for it.

Even though the opera was sung entirely in English, a side-screen displayed the lyrics to the arias. In general, it was sufficient to observe the facial expressions of the singers to understand the lyrics, but in numbers where three or four people sang, the screen was useful.

While the production was enjoyable overall, the final scene of “Figaro,” in which the actors stood in a chorus line, did not fit quite well with da Ponte and Mozart’s already saccharine ending. It could be argued that the move emphasizes the ridiculous events that unfolded during the day, but because the final number, “Let Us All Forget and Forgive,” ties all knots neatly, it becomes unnecessary.

If the applause given after the opera’s first performance is any indication, this DHO production is worth the ticket price. While the director’s interpretation of the opera was at times a little fuzzy, the great talent of Kapusta, Gerlach, and the rest of the cast makes for an enjoyable production.