In its first incarnation last November, ENO's Gosford Park-era Marriage of Figaro was dour; director Olivia Fuchs seemed to have told the cast to ignore any opportunities Mozart or Da Ponte might have given them to make the audience laugh. Revived with a new cast, a few tweaks and a sunnier outlook, it's drastically improved.

Some of the original tics have gone completely, such as the video projections during the Count and Countess's third act arias, which looked pretty but added nothing to the drama. Figaro still goes into a shell-shocked trenches flashback during what should be a sardonic aria warning Cherubino of the joys of soldiering, but it is better timed so as not to fight with the jokes in Jeremy Sams' translation. And Alan Oke's creepy Basilio is now actually given licence to be funny.

The new cast is also an improvement. The star singer is Susan Gritton, and though her creamy soprano can sound effortful, she's an affecting Countess and looks fabulous in Niki Turner's 1930s frocks. In his ENO debut, the rising American baritone Scott Hendricks emphasises the slimness of the Countess's husband rather than his cruelty, his lapses into a US drawl seeming all of a piece. Stephanie Marshall excels as Cherubino, and Sarah Tynan's familiar bright soprano and perhaps overfamiliar cute poses work well for Susanna. Iain Paterson's Figaro is a likable performance from a singer who has been getting quietly better and better.

The weakness is the conducting; there are too many moments of shaky ensemble between pit and stage, and André de Ridder's tempos can be leaden. But that can be fixed; and if so, there is no reason why this should not develop into a very good show.

· In rep until February 20. Box office: 0870 145 0200.