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"Lend Me A Tenor": A Spry Romp, Loads of Laughs
By Matt Reville
If Firebelly Productions’ current effort, "Lend Me a Tenor,” has the feel of a college production about it, there's a reason. Director Kathi Gollwitzer has surrounded herself with a cadre of young performers (many from American University and Bishop O'Connell High School) as she takes on Ken Ludwig's madcap story of an acclaimed tenor who can't seem to make it to his big show, and the mayhem that ensues. One of Firebelly's stated purposes is to nurture young talent, and that surely is laudable. For the audience, there are pluses and minuses in this approach, but the end result is, if a bit overlong, certainly quite pleasing.
The year is 1934. Tenor Tito Merelli has been imported to the United States to help the Cleveland Grand Opera celebrate its 10th anniversary. But Merelli's stomach isn't cooperating, and it looks like he'll be out of commission - perhaps permanently. Into his place steps young Max, the nebbishy stage gofer with a heart of gold and a silky throat. Can Max fool the audience, win over the critics and in the end steal the heart of his beloved Maggie? You'll find out.
As Max, Michael Sazonov is the standout of the night. Possessing classic physical-comedy skills and an aw-shucks personality reminiscent of a younger Matthew Broderick, he holds his own admirably as chaos descends around him in a script that rarely takes a breath.
David Cahill also stands out as the bombastic but lovable Tito, who's had a bit too much to eat and is not getting along with his tempestuous wife (played by Janet Patton).
But here is one of the problems of casting exclusively young people. Neither Cahill nor Michael J. Fulvio, who plays the father of Max's girlfriend Maggie (Kaitlin Kelly), old enough to seem appropriate in the part. Although both performances are fine, it wasn't possible to suspend belief enough to make them seem realistic in the roles.
The reverse, however, does work - the younger women in the show, notably Kelly and Patton are able to play older roles more effectively. (And in a small but memorable take, credit Luigi Canlas as the scene-stealing stage-struck bellhop.)
Director Gollwitzer keeps the pace moving, but this is a l-o-n-g show (2.5 hours) and the beginning of the second act drags from the manic pace before and after.
The set (Brian Moon) is effectively squeezed into the tight Theatre on the Run space, and the costumes (Deb Deaton) help set the mood. "Tenor" was a good show, with lots of fun. It's also given local audiences a couple of names to watch for - particularly Sazonov, Cahill and Canlas - in future productions. The show is in the midst of a brief two-weekend run, so act this weekend or be left out.
© 2003 The Sun Gazette |
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*** Firebelly Productions is supported by Arlington County through the Arlington Commission for the ARTS and the Cultural Affairs Division of the Department of Parks, Recreation and Community Resources. *** |
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Copyright © 2003 Firebelly Productions. All rights reserved. Designed by David Cahill. |
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