“The drastic change, however, concerns the Count himself, whose promiscuity, in the context of 1970s ideas about open sexuality, originally turned him into a greater social rebel than Figaro. In a superbly judged performance, however, Joshua Hopkins makes him sinister as well as sexy.  Barbarina’s friends can’t keep their hands off him – but his proprietorial attitude to the Countess…constantly threatens to tip into violence, and his harassment of…Susanna is so brutally persistent as to arouse genuine disquiet. Figaro…has a truly dangerous opponent on his hands, and the dividends in terms of emotional and social resonance are tremendous.  It’s beautifully sung and acted…(Figaro’s) passionate directness offsets…Hopkins’s manipulative suavity.”  The Guardian, Tim Ashley, June 10, 2013.

“Joshua Hopkins is likewise superb as the Count, contrasting a smooth, honeyed tone with a characterisation that is lecherous and abusive.” Financial Times, Laura Battle, June 10, 2013.

“Joshua Hopkins…is as prepossessing as last year’s Count, entering fully into the potential of the sexually rapacious, constantly frustrated nobleman.” The Stage, George Hall, June 17, 2013.