Bugs dresses as a groom, and the tune briefly switches to the final part of the "Wedding March" by Mendelssohn as the two are "wed" by a priest; the performance concludes with Bugs racing his "bride" up a very long flight of stairs and, when they reach a false house front door at the top, Bugs picks Elmer up as if to carry him over the threshold. Instead he drops him head-first into a large wedding cake below, labeled, "The Marriage of Figaro". Bugs then looks at the camera, smirks, and breaking the fourth wall, says as he eats a carrot, in the same manner in which he delivers his catchphrase, "Eh, next?" Production In a plotline reminiscent of Stage Door Cartoon, Rabbit of Seville features Bugs Bunny being chased by Elmer Fudd into the stage door of the Hollywood Bowl, whereupon Bugs tricks Elmer into going onstage, and participating in a break-neck operatic production of their chase punctuated with gags and accompanied by musical arrangements by Carl Stalling, focusing on Rossini's overture to the 1816 opera The Barber of Seville. In Stalling's arrangement, the overture's basic structure is kept relatively intact; some repeated passages are removed and the overall piece is conducted at a faster tempo to accommodate the cartoon's standard running length. In a short sequence where Bugs' scalp massage follows a piano solo, the character's hands are shown with five fingers, instead of his usual four, so the character can believably follow the tune. In 1994 it was voted No. 12 of the 50 Greatest Cartoons of all time by members of the animation field. The "Barber of Seville" poster that appears at the start of the film features three names: Eduardo Selzeri, Michele Maltese, and Carlo Jonzi, which are Italianized versions of the names of the producer (Edward Selzer), writer (Michael Maltese), and director (Chuck Jones) of the film. Reception Animation historian Greg Ford writes, "Chuck Jones' two most beloved operatic extravaganzas starring Bugs Bunny, What's Opera, Doc? (1957) and Rabbit of Seville, veer down somewhat different paths stylistically. What's Opera, Doc? relies on a more removed, high-concept graphic sense and the shock effect of Maurice Noble's splendidly expressionistic set design. The humor of Rabbit of Seville, staged against Robert Gribbroek's straightforward backgrounds, depends more exclusively on the cartoon's intense synchronization whereby every bit of slapstick action, mini-movement by mini-movement, links to the accompanying Rossini score.