Cheerfully Suspended Disbelief with Footlighters’ Production of Lend Me a Tenor
by Lisa Palena
Ken Ludwig’s Lend Me a Tenor, a farce set in September of 1934, is a comedy of errors that keeps the laughs coming from the first entrance to the creative curtain call. The story follows Tito Merelli, the world-famous Italian tenor who is set to perform the starring role in Pagliacci (his American opera debut). Henry Saunders, the general manager of the opera company, rightfully nervous that everything will go smoothly, charges his assistant Max to watch over Tito’s every move. Max, a shy and nervous tenor himself, agrees and subsequently bonds with Tito over their love of the opera. After a huge fight with his wife Maria, Tito accidentally receives a double dose of tranquilizers, sending his pulse so low that Max and Saunders believe him to be dead. With some coaxing from Saunders, Max agrees to masquerade as Tito and convince the audience of his false identity. In the meantime, unbeknownst to all, Tito wakes up and gets into his costume, ready to perform. One catastrophe follows another in this series of mishaps that offers lessons on celebrity worship, confidence, and communication.
When I arrived at Footlighters, I couldn’t help but notice the impressive set designed by Jim Frazer. Even on a relatively small stage, Frazer continues to defy limits and create large, elaborate scenes that transform the space into something else entirely. His two room luxury hotel suite, which included 5 different onstage entrances through various doorways, was elegantly designed in an art deco style. Additionally, there were massive backlit windows which gave an air of refinement, indicating that this room wasn’t just *any* room, but rather one fit for a star. As I waited for the show to begin, calming operatic music played in the background.
With any good farcical comedy, the audience needs to suspend their disbelief and buy into the dramatic irony present in the play, and director Edwin Howard stages the show in a way that allows audiences to overlook implausibilities. Whether it’s having Tim Herman lightly snore to alert audience members that he is still alive and well, actors saying lines backstage to relay an important phone conversation, or an actor’s visible wink towards the crowd, Howard ensures the audience is always in on the joke. It was these subtleties that added to the hilarity of the play, and Howard managed them masterfully. Side jokes such as a bowl of wax fruit that appeals to multiple people, a note that reads as a suicide note but is anything but, and the clever use of slamming doors also kept humor going from start to finish.
A show of this quality only works with the right ensemble of characters, and the talented cast brought this performance to life. Tim Herman shines as womanizing opera impresario Tito, and his ability to showcase a nuanced personality helped the audience feel empathy for him in spots where his character could otherwise be seen as unlikable. His fiery, passionate relationship with Valerie Brothers (Maria) offered sizzling scenes and served as a strong contrast to the quieter, unassuming relationship between Stephen Jackson (Max) and Alex Davis (Maggie). Valerie Brothers brought a layered complexity to Maria, and I truly felt her confliction about staying with Tito or moving on in those opening scenes.
Stephen Jackson portrayed the meek dreamer Max and I think it might be fair to say that his role was the true star of the show. Jackson brought just the right amount of anxiety to Max and demonstrated incredible vocal skill in his duet with Tim Herman as well as in his serenade of Alex Davis’s character, Maggie. It’s clear to see how he could pass for an operatic master. As an audience member, I felt for Max every time something went wrong, and his comedic scenes with Tim Herman stole the show.
Alex Davis played the starstruck Maggie, who just wants to experience life before settling down with Max. She dreams of seeing the famous Tito (and maybe having a fling). Davis and Jackson have a familiar chemistry and it was a joy to see them interact on stage. In various scenes, Davis let her awe for Tito embody her character. I marveled at how she skillfully used wit and fast-paced dialogue to showcase her nervousness when she thinks her dreams are coming true.
Playing Davis’s father Henry Saunders is John Nicodemo. Nicodemo personally has a calming personality and this affect served him well as head of the opera company. However, where Nicodemo excels is in portraying agitation, and he does so deftly here. His terse interactions with the bellhop, Ian Mulreaney, were hysterical and personified his annoyance with everything going wrong around him. Mulreaney did a fantastic job of taking the character of Saunders in stride and succeeding at finding his way back to the room multiple times.
Rounding out the cast were Kori Rife, playing Diana, the soprano with New York ambitions, and Phyllis Josephson as Julia, the Chairwoman of the opera guild. While both women had slightly smaller roles, they brimmed with energy and got some of the largest laughs and applause of the performance. Their lust for Merelli was palpable and they aptly represented a larger crop of female admirers as a whole.
The costumes for the show, created by Amanda Cogdell, truly transported the audience to the 1930s. The dresses were exquisitely fashionable for both the time and the setting of the opera opening. Phyllis Josephson, in particular, looked stunning in Cogdell's choice of a silver sparkly formal gown. And the matching clown costumes for Stephen Jackson and Tim Herman (with accompanying makeup) added to the comedy while avoiding a common pitfall for this show- there's been much controversy in the past about theatres using blackface as a makeup tool. Cogdell's use of white face paint, complete with a single black tear (reminiscent of a mime) kept the intention without contention. All costumes also allowed for easy movement and physical comedy, a feat in its own right!
In addition to direction by Howard and set design by Frazer, other members of the production team included Allison Adams (stage manager), Andrea Veneziano (producer), Gabriella Giangreco (music director), Heidi Kleber (sound designer), and Stella Driscoll (assistant stage manager). Dave Pallas, Bill Shaughnessy, and Larry Driscoll were also integral in the process of set construction. The work of the team as a whole proved to be successful in conveying the well-crafted story.
Lend Me a Tenor provides laughs in a world which needs more laughter. Even if you’ve seen the play before, this company brings new life and surprises to its performances. And if you haven’t seen it, what are you waiting for? The show runs through November 18th at Burlington County Footlighters. Tickets can be purchased online https://tickets.bcfootlighters.com/show/lendmeatenor or at the door.
