Far removed from 18th century France and any sign of an opera house good old Figaro is fit and as fine a figure of a farce as you could wish for a modern audience in this new version created by Ranjit Bolt and Lou Stein. Both writer and director deserve credit for this refreshing revival, trimmed back to a crisp comedy of a day of sexual intrigue at a country house populated by characters of decaying nobility and human values.

In this the characters are as important as the words and the casting is inspired. John Bowe in the title role as Figaro depicts perfectly the part of the author Beaumarchais, who back in the 1780s through his play poked at the puffed-up nobility by challenging the notion that aristocracy and intelligence go hand in hand, and originally had his work banned. Equally inspired is the choice of Sylvester  McCoy as the Count. Television's last Doctor Who here comes into his own with a superficial, twinkly but otherwise not too bright aristocrat of declining nobility and soppy sexuality. With a delightful maid Suzanne (Sarah Payne), a raunchy Cherubin (Simon Schatzberger) and a neat mix of real and caricatured people, the whole sexy romp of infidelity, jealousy, plotting and scheming is an elegant, entertaining show, that completely steers clear of the pitfall of farce - unjustified exaggeration. The balance is right, individual scenes delight with Kenny Miller's stunning set smoothly adapting to indoor-outdoor scenes allowing for an illusion of many more characters than the cast of ten. With such touches the Palace production of Figaro is like an antique restored and polished to perfection.