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November 1, 2016Posted by on
In the world of well-crafted farces, Ken Ludwig’s “Lend Me a Tenor” has proven itself dependably clever in a variety of different settings. That is, when the cast is up to the rather specific demands of a tale about a regional opera company. Filled with classic slamming doors and mistaken identities, its sheer ridiculousness combined with its endearing characters makes it a deceptively easy hit.
Now playing at the La Mirada Theatre for the Performing Arts, courtesy of the McCoy Rigby Series there, a new production of this silly piece has all the required elements to make it a sure-fire hit, and the results don’t disappoint. Those who must sing really can. Those who must be over-the-top do so with delightful abandon. The look, and the timing, all enhance the whole.
In short, this “Tenor” sings like an angel.
The tale, as much as there is one, centers upon a two-room hotel suite in Cleveland in 1934. The Cleveland Opera has invited the great Italian tenor, Tito Merelli, to sing “Otello” in a one-night gala performance. When he doesn’t arrive on the expected train, panic ensues among those hovering around that room waiting for him. When he finally does show up, a series of missteps, mistakes, and eventually mistaken identities create complete pandemonium.
Director Art Manke has collected a remarkably able ensemble cast to make all of this work, and his combination of choreographed movement and pacing makes the entire thing come together just as it should.
Central to the piece is John Shartzer’s Max, the harried assistant to the company’s general manager upon whom all the pressure regarding Tito’s appearance lands. Shartzer creates in Max a wiry, anxious, and – in the end – surprisingly talented man, even in the midst of panic. As his charge, Davis Gaines makes Tito stereotypically emotional, yet with an underlying kindness which humanizes the stereotype. Both sing well, which cements a major element of the storyline.
J. Paul Boehmer gives the company’s general manager the appropriately officious combination of command and fatalism. Kelley Dorney, as Max’s starstruck fiancé, radiates an innocent sense of daring. Colette Kilroy gives the older chairman of the Opera Guild an endearing enthusiasm, while Leslie Stevens creates the aura of a budding diva as the soprano anxious to use her connection with Tito to further her career.
In somewhat smaller but no less polished performances, Catherine LeFrere has a field day with Tito’s wildly dramatic, fed-up wife, while Jeff Skowron proves consistently funny as an opera-obsessed bellhop who co-opts the role of room service waiter to snag Tito’s autograph.
The set, by Tom Buderwitz, is filled with a sense of period luxury. David Kay Mickelsen has created period costumes which evoke the era, and meet the rather circumspect needs of the McCoy Rigby audience for decorum in the play’s more sensual moments. Katie McCoy’s wigs are perfect for both time and character. In short, the visuals set the scene and allow certain outmoded elements necessary for the plot to appear historically appropriate.
This “Lend Me a Tenor” will allow for genuine and lighthearted laughter, and who couldn’t use a bit of silliness in this fractious time? Go and enjoy, and leave happily unencumbered by anything deeper than the requisite happy ending.
What: “Lend Me a Tenor” When: through November 13, 7:30 p.m. Wednesdays and Thursdays, 8 p.m. Fridays, 2 p.m. and 8 p.m. Saturdays, and 2 p.m. Sundays Where: La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd. in La Mirada How Much: $20 – $70 Info: (562) 944-9801, (714) 994-6310 or http://www.lamiradatheatre.com