By Doug Iden
Confusion, desperation, lust, and mayhem collide in Ken Ludwig’s clever Lend Me a Tenor at the Covedale Theater.
Plot and Characters
Distraught at the absence of noted Italian tenor Tito Merelli (Ryan J. Poole) for a major fund-raising event, Cleveland’s bombastic Grand Opera General Manager Henry Saunders (Jeff Hartman) turns to his assistant Max (Josh Galloway) for a solution. Max, a nebbish and wannabe fiancée to Saunder’s daughter Maggie (Anna Kahle) and Henry concoct an idea that Max (a closet tenor) could assume the role of Pagliacci while disguising himself in the clown costume all evening. Fortunately, Tito finally arrives but is sick and anxious about performing.
Tito’s jealous wife Maria (Leslie Taylor) appears, confronts the tenor about his serial womanizing and threatens to leave him. Tito takes a tranquilizer while Max also “doctors” his drink causing Tito to black out which is misinterpreted by Max and Henry as the tenor’s demise. On to Plan B with Max assuming the tenor’s part, paired with soprano Diana (Chloe Hedrick). Both Diana and Maggie are infatuated with Tito.
Spoiler Alert!
Spoiler Alert: at the end of Act 1, Tito, survives his “death”, puts on his Pagliacci costume and leaves the hotel. Later, Tito tries to enter the theater in costume and is repulsed by police. Max’s performance (aping Tito) draws raves and then the mayhem ensues with both Max and Tito in full costume while being confused for each other by the remaining characters. Other roles include the disruptive, opera enthusiast Bellhop (Corey Meyer) and the self-appointed Grande Dame of Opera Julia (Leanne Greenberg). The remainder of the second act is reminiscent of a Max Sennett 1930’s movie.
Themes
This is a gentle spoof of the snobbishness of “opera-mania” and a more savage indictment of celebrity worship. All the characters are slavishly devoted to a weak, womanizer whose sole talent is singing, with little true personal substance.,
Comedic Structure
The overall tenor is a true slapstick farce with all the ingredients including mistaken identity, repeated sexual innuendos, chases, rapid-fire dialogue, pratfalls, outsized egos, slamming doors, general confusion, and pandemonium. The trick is a combination of excellent acting which makes the silliness almost seem real and exquisite timing for both action and dialogue. A staple is actors running in and out of doors with unexpected results.
David Roth’s direction leads the actors to timing perfection. Galloway (Max) leads the chaos with a character arc from put-upon assistant to confident opera performer (with a smattering of an Italian accent). Poole’s Tito careens between preening celebrity to anxiety to befuddlement. Two scenes typify the comedy. Early in the second act, Tito (in full clown costume and unaware that Max had sung in his stead) is confused when Diana refers to his duets which Tito interprets as seduction on her part. The clever byplay allows the slinky Diana to mesmerize while womanizer Tito feints shock. Another example is the final scene when the entire cast races through the play in about two minutes.
Design
In addition to comments above, Brett Bowling’s set design adds significantly to the overall comedic effect. The entire play is staged in Tito’s hotel suite with a bed room and a living room. The living room has a sofa, some tables, etc. and the bedroom has a bed and three doors leading into a closet, a bathroom, and the corridor. There is a “stage wall” between the rooms which shields the characters from knowing what transpires in the other room but the audience can see both. Thus, we know more and can anticipate action which the characters cannot (like a Hitchcock film).
Costumes by June Hill and Jenny Partridge vary from posh suits and dresses to Max sweaters to the clown costumes. Julia’s glittery dress is described as “the Chrysler Building” (a well-lit NYC landmark). Two dresses accentuate the difference between eager but naïve Maggie from the sultry Diana. There is even a “sound gag” involving bells designed by Jamie Steele. Denny Reed’s lighting distinguishes between action in the two rooms.
Overall
If screwball comedy is your “aria” of interest, you should see this show which combines great dialogue and acting with exquisite timing.
Get Tickets to Lend Me a Tenor
So, grab your clown costume and opera glasses and tune into Lend Me a Tenor at the Covedale Theater running through February 15. Call 513-241-6550 for tickets or buy your tickets online here: https://www.cincinnatilandmarkproductions.com/ccpa/PurchaseTickets.aspx
