Berkshire on Stage

“Sometimes, we just want to laugh” says Myka Plunkett, the director of LEND ME A TENOR, now playing at the Majestic Theater in West Springfield. And laugh you will if you come to see this rollicking evening of hilarity. Playwright Ken Ludwig is a master of the form of bedroom farce, and this TENOR delivers it, all in sidesplitting, operatic mayhem.

The lights come up on the lavish hotel suite reserved for “Il Stupendo,” the world-famous Italian opera singer, Tito Merelli. But where is he? Saunders, the General Manager of the Cleveland Grand Opera Company is in a panic because his star has not arrived for the afternoon rehearsal before a one-night only performance of PAGLIACCI. Saunders’ daughter, Maggie, and his young assistant, Max, are trying to control the situation. Max offers to step in for the missing star—an idea that is quickly squashed by Saunders. Meanwhile Maggie, the girlfriend of Max, is desperate to meet Tito because she has a wildly romantic crush on the singer whom she met once before. The elusive Tito does arrive, along with his longsuffering and stylish wife, Maria, as well as a stagestruck bellhop, and more admirers (the soprano Diana, and the Chairman of the Opera Guild, Julia) who also finagle their way in to see the famous star. But Tito is tired, touring is burning him out, and he begs for sleep. Max is charged with getting the singer to the performance but unknown to Max, Tito takes a sedative or three and Max brings him wine and more sedatives, which knocks him out. Max discovers the inert Tito and tells Saunders the star has died. To save the day, Saunders has Max don Merelli’s costume to fool the audience into thinking he is Il Stupendo. Max rises to the occasion. However, Merelli wakes up, dons an identical costume and before long there are two Pagliacci’s dashing in and out, and Maggie and Diana are running around in their lingerie, each thinking she is going to have a romantic liaison with the famous star.

It is no wonder that LEND ME A TENOR, which debuted on Broadway in 1989, won numerous Tony and Drama Desk Awards. It is quintessential farce, with its two-room set, outfitted with six doors, through which there will be frantic comings and goings, hiding in closets, and sexy liaisons, leaving the audience laughing uproariously.

Director Plunkett has pulled together a marvelously talented cast and staged the show with a sure hand. This script requires the usual split second comic timing, but also a sense of style, both for the 1938 glamour and the larger-than-life, hyper emotional stratum of grand opera. Peter Evangelista, as Tito, is thoroughly charming as the beleaguered star. We empathize with him as his fiery, jealous wife, played with great gusto by Sarah Keyes, leaves him in the clutches of the younger women. Keyes is a standout even in this superior cast. Her physicality and passionate rage sets the bar for the outrageous tomfoolery of Ludwig’s comedy. (All the more impressive if you saw Keyes’ performance earlier this season as the ice-cold AI Bot in Great Barrington Public Theatre’s production of iBoss.)

Raya Malcolm as Maggie is totally enchanting as Maggie. Her lively spirit is evident from her first line and it shines throughout the exhausting machinations of the plot. Malcolm moves with grace and style and is a master of screwball comedy – reminiscent of the film star Carole Lombard. She is evenly matched with actor Christopher Marcus as Max. Max is at times timid and insecure but literally finds his voice one of the funniest scenes in the play when Tito demonstrates to Max how to loosen up and sing. As Max comes out of his shell, he sings with abandon and gains the confidence and romantic ardor to win Maggie’s heart. Marcus sings extremely well and gives a wonderful performance, perfectly capturing the full arc of the character.

These remarkable players are supported with the excellent and nuanced performances by Sam Samuels as Saunders, Dorine Tayts as Diana, Mona Tiglio as Julia, and John Pagliarulo as the bellhop. Each of these players contributes mightily to the fun of the evening.

Myka Plunkett’s staging is nothing short of masterful. Not all directors can handle the extreme demands of farce, but Plunkett is in her element here. Likewise, Dawn McKay has created the gorgeous 1938 period costumes and hairstyles. Every detail is here – the slinky silk dresses, the glitz and the bling, the handsome suits and tuxedos. The scenic design by Daniel David Rist is a
bit garish for the period, but rich in detail and 100% functional.

So, if, in these uncertain times, you feel you really need a good laugh, you have until November 29th to indulge yourself in this consummately entertaining farce at the Majestic. You really don’t want to miss it.

Credits
Playwright: Ken Ludwig
Director: Myka Plunkett
Scenic Design: Daniel David Rist
Lighting Design: James McNamara
Costume Design: Dawn McKay
Sound Design: Ryan Hickey

Cast:
Max – Christopher Marcus
Maggie – Raya Malcolm
Saunders – Sam Samuels
Tito – Peter Evangelista
Maria – Sarah Keyes
Bellhop – John Pagliarulo
Diana – Dorine Tayts
Julia – Mona Tiglio

Information
LEND ME A TENOR runs October 22 through November 29. Evening performances are at 7:00 or 7:30 Wednesday through Saturday and matinees are Saturday and Sunday at 2:00. Please note the schedule is somewhat irregular, so check the box office for specific dates. For tickets, phone 413-747-7797 Running time is about 2 hours at the Majestic Theater, 131 Elm Street, West Springfield, MA. Closing date is November 29th .

Website: www.majestictheater.com