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Synopsis
This uproarious new show by Peter Sham and Brad Carroll, Lend me a Tenor is a riotous, unpredictable explosion of mistaken identities and unexpected romance - based on the award winning West End and Broadway hit comedy by Ken Ludwig.
It’s 1934, and the world’s greatest tenor Tito Merelli has come to Cleveland, Ohio, to save its Grand Opera Company by singing Otello. When he is unexpectedly incapacitated, Max, the opera director's meek assistant, is given the daunting task of finding a last minute replacement. Chaos ensues - including a scheming soprano, a jealous wife, shrimp gone bad and the Cleveland Police department.
The Lend Me a Tenor show had a try-out last September at the Theatre Royal Plymouth and was nominated for Best Regional Production in our Whatsonstage.com Awards and now transfers to the Gielgud Theatre.
The Lend Me A Tenor cast is led by Matthew Kelly as Henry Saunders (the General Manager of the opera company), Michael Matus as Tito Merelli, Damian Humbley as Max and Sophie-Louise Dann as prima donna Diana Divane, all reprising their performances from Plymouth.
Lend Me A Tenor opened last night (15 June, previews from 2 June 2011) at the West End's Gielgud Theatre, bringing Ken Ludwig's 1982 play back to the theatre as a musical with book and lyrics by Peter Sham and score by Brad Carroll.
Lend Me A Tenor tells the story of renowned tenor Tito Merelli, known as "Il Stupendo", about to play Otello; his biggest role to date. However, trouble soon arises during the final dress rehearsal, in the form of as a case of mistaken identity, double entendres and innuendoes. It is left to mousy director's assistant Max to find a replacement for Tito when the final dress rehearsal spirals out of control and he is unable to fulfil his role.
"Ian Talbot's production is faultlessly cast, with a lumbering, bearish Matthew Kelly as the neurotic impresario Henry Saunders; Michael Matus as the heart-throb Italian tenor Tito Merelli; Joanna Riding as Merelli's jealous, vengeful wife Maria; Damian Humbley as Max, the geek with the voice of a god who ends up drugging and replacing Tito in Verdi's Otello; and Cassidy Janson as Saunders' daughter Maggie ... The sets, have been sumptuously dressed by Paul Farnsworth, and there are some shimmering moments. Sophie-Louise Dann, as the brassy diva Diana, stops the show with an audition number called 'May I Have A Moment', combining a medley of classical opera with low comedy to hilarious effect. Unfortunately the moments of originality are few in a show that could have been written any time in the past five decades... and the title song makes no sense when put in the mouth of Maggie, a character who has no need of anyone to lend her a tenor. There is too little of the hugely enjoyable choreography while the slapdash plotting of the original material breaks the cardinal rule of farce that, however preposterous the action, it must be entirely believable when you’re caught up in it. It's all harmless … But ultimately it's no more than impeccably directed fluff, which is frustrating given the talents on show."
Libby Purves The Times ★★★★
"Ken Ludwig play with Peter Sham’s book and Brad Carroll’s music is, like Phantom, a musical about opera. But while Lloyd Webber’s work… is a supreme emotional expression, this one assumes that it is mainly a preposterous world of divas and funny foreigners, where Otello rhymes with Jell-O. There are some lameish jokes… so that the immense Matthew Kelly and the slight Humbley are interchangeable with Merelli. But hell, this is farce ... There are some fine set pieces: a duet between Max and his deceived girlfriend Maggie Cassidy Janson shows his operatic tenor behind the musical-theatre lightness and her lovely romantic voice and ability to handle big character numbers. But Sophie-Louise Dann as Diana, the local diva, has the comic gem of the night. A spoofy surtitled operatic row between the Merellis is fun too, and Kelly, looking unnervingly like Lord Howe of Aberavon, is the beleaguered manager and milks it like a man. My fourth star hovered for a while, uncertain: it was won by the unforced glee of the preview audience. For it’s a good-hearted show with real laughs: not to be sniffed at."
"First-rate musical farces, are rare for one obvious reason: the songs tend to hold up the action. But... Ken Ludwig's 1986 play doesn't avoid all the pitfalls, it gets by on period charm and one dazzling knockout number ... The high point comes when the company's Desdemona turns up in Morelli's bedroom to demonstrate her operatic wares. Sophie-Louise Dann seizes her moment and gives wonderfully over-the-top potted parodies of Tosca, Violetta and Carmen, while hugging the walls and clawing the furniture ... Ian Talbot's production does all it can to keep the plot boiling with an orgy of door-slamming, and there is a good moment when tapdancing bellhops and pirouetting chambermaids remind us that everyone in America thinks they're in show business. Matthew Kelly huffs and puffs a lot as the dyspeptic theatre manager, but there are good performances from Damian Humbley as the bespectacled nerd who takes on Otello, Michael Matus as the authentic Italian article, and Joanna Riding as his explosive spouse."
"This is a new souped-up, song- and dance-spiced version of Ken Ludwig’s 1986 comedy … Putting the ooh-er into opera, the play…orchestrates an old-fashioned imbroglio of flimsy disguises, mistaken identities and bedroom farcicality. Composer Brad Carroll, with Peter Sham supplying book and lyrics, pick up on the conceit of imposture. The added numbers borrow and steal the jazzy rags of Twenties and Thirties standards and old-style show tunes... to pleasing ersatz effect ... It’s all passably entertaining – if you’re prepared to accept this light-hearted and sometimes laboured mix of high art, high jinks and hokum for the fluff and nonsense it is. The songs – with flip, throwaway lines – are barely memorable, the dance sequences fine but infrequent and emotions are brought to the boil with all the sophistication of four-minute pasta."
“What to say about this polished but instantly forgettable musical? ... It skips along breezily without a single memorable tune or unforced rhyme. It has farcical moments, but only Matthew Kelly, as the opera house manager, imbues them with the right sense of sweaty desperation. The romantic leads are melodic but insipid, and the comedy honours are stolen by Joanna Riding and Michael Matus as caricature fiery Italians with shaddap-you-face accents. The whole thing is slickly enough directed by Ian Talbot, who was in the original play, although he does tend to crowd his cast into corners. But it took a concerted act of will to remember anything more than the broadest details on the way home. The arc of the story is almost embarrassingly predictable ... Brad Carroll's music and Peter Sham's lyrics are full of guff about being yourself and following your dreams. Incidentally, none of Carroll's own compositions compares to the pastiche medley of arias he crafts for an otherwise underused diva character ... There's a disjunction here between retrogressive comedy and modern musical sentiment, and the result is blandness. I did like the tap-dancing bellboys, but that's faint praise, I know.”
In the mid-eighties, Ken Ludwig's operatic farce Lend Me A Tenor had them rolling in the aisles in the West End at the attempts of a desperate impresario to replace his indisposed opera star without his audience – or the rest of the cast – knowing they're watching an understudy.
The play went on to glory on Broadway, where it has lately been revived, but now comes a musical version with book and lyrics by Peter Sham and music by Brad Carroll, arriving at the Gielgud Theatre by way of the Utah Shakespeare Festival and the Theatre Royal Plymouth.
Ian Talbot's production is faultlessly cast, with a lumbering, bearish Matthew Kelly as the neurotic impresario Henry Saunders; Michael Matus as the heart-throb Italian tenor Tito Merelli; Joanna Riding as Merelli's jealous, vengeful wife Maria; Damian Humbley as Max, the geek with the voice of a god who ends up drugging and replacing Tito in Verdi's Otello; and Cassidy Janson as Saunders' daughter Maggie, who is adored by Max but has the hots for Tito.
The sets, particularly an opulent lavender-and-gilt hotel penthouse, have been sumptuously dressed by Paul Farnsworth, and there are some shimmering moments, such as the bellhops' and maids' tapdance routines and an argument between Tito and his wife which is sung entirely in Italian, in the style of high opera, with gilded surtitles dropping from the proscenium. Sophie-Louise Dann, as the brassy diva Diana, stops the show with an audition number called "May I Have a Moment", combining a medley of classical opera with low comedy to hilarious effect.
Unfortunately the moments of originality are few in a show that could have been written any time in the past five decades. At their best, the lyrics exude Guys 'n' Dolls sass ("How do we sell O/tello with no fellow/ here?"), but much of the music smacks of forgettable light opera and the title song makes no sense when put in the mouth of Maggie, a character who has no need of anyone to lend her a tenor.
There is too little of the hugely enjoyable choreography while the slapdash plotting of the original material breaks the cardinal rule of farce that, however preposterous the action, it must be entirely believable when you’re caught up in it.
It's all harmless, cosy fun which will put a smile on your face even if it won't quite split your sides. But ultimately it's no more than impeccably directed fluff, which is frustrating given the talents on show.
A STANDING ovation was something of a foregone conclusion as the musical comedy Lend Me A Tenor opened at Plymouth’s Theatre Royal under Ian Talbot’s tight direction.
Ken Ludwig’s Olivier and Tony Award-winning 1989 farce is given a musical reworking by Peter Sham and Brad Carroll which slows the expected quick-fire comedy a jot in the first half but adds a new dimension to the otherwise somewhat predictable piece.
All the elements of a popular rip roaring night out are here: mistaken identity, amazing co-incidence, double entendres, requited love, infatuation, opulent costumes, comic chaos, dance and song. And no less than five doors to affect the farcial element of a “Noises Off meets Verdi”.
Paul Farnsworth’s sumptuous set, resplendent with gilt and chandeliers, is a worthy backdrop as Italian opera supremo the mercurial Tito Merelli (a tremendous performance both visually and vocally from EastEnders/RSC Taming of the Shrew’s Michael Matus) arrives in uptown 1930s Cleveland, Ohio. He is booked to sing his signature role of Otello in an overpriced production upon which the financial salvation of manic manager (the always good value Olivier Award winner Stars In Their Eyes/Of Mice and Men’s Matthew Kelly) relies.
Il Stupendo’s wife (convincingly played by Sally Anne Triplett – Whatsonstage Theatregoers’ Choice Best Actress In a Musical award winner for Anything Goes) is sick of his womanising, Merelli is sick having eaten too much in a bid to gaze at the cleavage of the waitress, theatre gofer Max (the superb Damian Humbley ofLittle Shop of Horrors renown) is lovesick for the manager’s daughter and Maggie (a sterling performance from relative newcomer Kelly Chinery) is desperate for a fling – preferably with Merelli.
With the three Annas (Shirley Jameson, Jane Quinn and CJ Johnson) providing much light-hearted banter, poisonous shrimps and faffing about in glittering costume; a live orchestra, tap dancing bell hops, snatches of Verdi, comic chaos and slapstick humour, all the essentials of a West End hit abound even if it is not my cup of tea.
For me, the highlight of a somewhat old-fashioned piece was the hilarious but clever showcase aria medley by man-eating diva Diana (Albert Hall headliner and West End stalwart Sophie-Louise Dann)
really enjoyed this show catch it while you still can , be yourself was a highlight , title song agree bit wasted sumptious show and great cast
will be a loss to the west end - rob g
01 Aug 11
It must be difficult for a cast to have to keep performing with total enthusiasm after their show has posted an early closing notice. It is to the credit of everyone involved with Lend Me a Tenor that standards appear to be maintained, although Matthew Kelly's accent goes missing occasionally. Farce is not really suited to a musical as it depends on maintaining a high speed rather than stopping for a song but this is only really a farce for part of the second half. The book and lyrics by Peter Sham are creaky and clumsy and the title song is awful and makes no sense, but Be Yourself is a genuinely good song, particularly as a duet for both tenors, and Sophie-Louise Dann's cod opera is terrific fun. The set, especially the hotel suite, is lavish but the lighting is too bright and the sound over-amplified. It seems that London audiences are are increasingly reluctant to embrace unfamiliar shows if the far superior Betty Blue Eyes is also apparently struggling to sell tickets but the audience at the Gielgud gave Lend Me a Tenor a rousing reception and it's sufficiently entertaining to deserve to have run until the end of summer. - David Baxter
28 Jul 11
To all the cast, production team, financial backers and Gielgud staff; I'll be there on the closing night (6th Aug.) for a third and most enjoyable visit to your show. Criminal. Love - Stevie
27 Jul 11
I booked my tickets for "The umbrellas of Cherbourg" - but it finished before we arrived in London. But I wanted to see Joana Riding - and so I bought two tickets in the stalls for the show "Lend me a tenor"... and had so much fun! We saw all the new West End-Shows in one week, even Betty Blue Eyes, The Wizard of Oz, Ghost etc. - but this one was the most funny show I ever saw in London! The dancing is extraordinary good, the music is simply wonderful ("Be yourself" gives you goozebums)and the cast ist superb! There are two showstoppers in this show - and I have to say: Well deserved Standing Ovations, Bravos and cheers for the whole cast at the end of the show! Thanks once again for this great night!!! Can`t wait to buy the CD!!! - Yvonne Hoeffgen
20 Jul 11
Sorry forgot to give it 5 stars - Stephen
19 Jul 11
I have seen this WONDERFUL show twice and would happily sit through it again and again.....the 6 Principals are all amazing!!! You'll have a grin on your face from start to finish. The Best New Musical so far this year! Sorry to gush but I just can't praise it enough. - Stephen
19 Jul 11
Please don't wait, run and catch this joy of a West End show, it is a lesson in what musical comedy is all about and has a first rate/top draw company...
Do not miss it.
Thinking Betty Blue or this? Tenor wins hands down! - musicalmadman
12 Jul 11
A second visit tonight, this time with a non-theatre-going lady friend that loved every minute, we laughed and chuckled all the way through. And so we should have since it’s hard to see what more the production can do to improve, ..and please the cynics. When reading the negativity over at Whingers one wonders if a person that slags off nearly every theatrical production should give up on theatre and try another form of entertainment? Tenor is worth seeing for the lush chocolate box set and costumes alone, coupled with a highly talented cast with many excellent voices the genre of farce was brilliantly delivered. Comments that Mr. Kelly is miss-cast are off mark, I’m no fan and was pleasantly impressed; the show also delivers a quaint message courtesy of Damian Humbley. Mass standing ovations and very loud cheers from full stalls and 60% dress circle, hopefully the contented will spread the word. NO! I don’t have connections with the show as is some individuals’ retort to kind reviews. [Nota Bene: seat price and satisfaction are interlinked, if uncertain buy a seat in the Gods and return to enjoy a second time, often seats are upgraded FOC anyway. It’s surprising how much more enjoyable a second viewing to any show can be, picking up on missed expression, lines, and the double entendre. The Gods at Tenor are just £11.75 inc. online, the show is well worth £30+] - Stevie
12 Jul 11
A total delight from start to finish. One of the most attractive and winning casts I have seen in a very long while. Lavishly produced show and the wonderful sense of fun and entertainment begins the moment the curtain goes up to the glorious finale and bows which had many people on their feet. A real surprise and one which I will return again to see. - Owen
07 Jul 11
Great cast, great fun show up with the best in the west end you will laugh and laugh. Deserves to run and run but more people need to go and enjoy this ensemble skilled piece. Well done! - RT
Originally opened 27Dec 1906 as The Hicks Theatre. Formerly The Globe, renamed in 1994 in part in tribute to Sam Wanamaker, so that his dream of a new Shakespeare Globe would be the only Globe in London. 983 seats. Society of London Theatre member. In 1999 Delfont Mackintosh Theatres Limited acquired the freehold of the Queen s and the Gielgud Theatres from Christ s Hospital, Horsham. The lease of the Gielgud Theatre will revert back from Really Useful Theatres to Delfont Mackintosh Theatres in March 2006 after which there are plans to refurbish both venues and to build a 500-seat theatre, The Sondheim, above the Queen s. This will be the first new theatre in Shaftesbury Avenue since 1931.
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