Figaro
Figaro is the protagonist of the play. He is a young man engaged to be married to Susan, a woman whom he loves very much. He has a checkered history in that he does not know his family or his parents, and is often getting into trouble, but he always seems to come out on top. He is the count's majordomo and valet, and the two have a long relationship; Figaro was key in enabling the count to marry Rosina. Figaro seems to have a special aptitude for coming up with plans that are often complicated and convoluted and usually involve pulling the wool over the eyes of the count.
Figaro is a good-hearted and decent man, but he experiences his share of unchecked emotions as well. When he believes that Susan is having an affair with the Count, he becomes melancholic and angry, going on a long tirade against the aristocracy and ruling classes. In his soliloquy, he observes that the count is ordinary but elevated because of his title, whereas Figaro is anything but ordinary in his character but lives in obscurity because of his lack of rank or status.
Count Almaviva
Count Almaviva is the Governor of Andalucia, the region of Spain of which Seville is the "capital." He is married to the countess Rosina, a marriage that was largely accomplished by underhanded tactics and trickery created by the genius of Figaro. He has a well-deserved reputation for being a womanizer and a philanderer, but he is not depicted as particularly malicious or evil. Rather, Beaumarchais suggests that the Count is made hypocritical and unaware by his wealth and status, feeling entitled to do whatsoever he pleases without thought of the consequences. He is apt to punish those whom he feels have wronged him, without thinking of his own wrongs. By the end of the play, he is humbled by the prank that the other characters play on him and goes back to his faithful wife.
Susan
Susan is the countess' maid. She is engaged to Figaro and seems to love him very much, while also remaining loyal to her mistress. She is also the count's latest object of affection, and must resist his relentless seductions. Like Figaro, she is crafty and intelligent, and knows how to strategize and maneuver to her own advantage within the court.
The Countess
The countess is unhappily married to Almaviva. The main source of her unhappiness is her husband's infidelity as well as his hypocrisy. She complains about the fact that not only is he unfaithful, but he expects her to be completely faithful all the while. She is beautiful, restrained, and determined, and feels a fondness for Susan, her servant. By the end of the play, she is able to dupe her husband and show him the error of his ways.
Hannibal
Hannibal is the count's page and the countess' godson, who is just at the age of puberty. As such, he falls in love easily and devotedly. He often plays a physically comedic role in the action, alternating between fits of overwhelming desire, humiliation, and ridiculous disguise (he is often dressed as a woman throughout the play). While he harbors an intense desire for the countess, his greatest love is the servant girl, Agnes.
Marcelina
Marcelina is the housekeeper and is in love with Figaro. Midway through the play, she learns that Figaro is actually her long-lost son, and attributes her affection for him to this relationship between them. She marries the doctor, Bartholo, in order to allow Figaro to marry Susan.
Bartholo
Bartholo, a doctor, was once the countess' guardian and had wanted to marry her. He is rather spitefully glad that her marriage to the count is unhappy now. He is also angry with Figaro for coming up with the plan that enabled the count and the countess to marry, and so is pleased to be redressing the balance a little bit by sabotaging his wedding. When he discovers Figaro is his own son, his attitude changes and he agrees to marry Marcelina so that Figaro's marriage can go ahead as planned.
Basil
Basil is in love with Marcelina, but his affection fades once he finds out that Figaro is her son. He is a music teacher and music instructor to the count and the countess.
