Lend Me A Tenor - The Review is in!

‘Tenor’ offers up a night of light comedyKevin O’Neil and Mary Bastoni-Rebmann as the bickering Italian couple Tito and Maria Merelli in M&D Productions’ peoduction of the ensemble comedy “Lend Me a Tenor,” which is currently at Your Theatre in North Conway. (LISA DUFAULT PHOTO)THEATER REVIEW BY ALEC KERR THE CONWAY DAILY SUN

CONWAY — As with its recent pro-duction of “How the Other Half Loves,” M&D Productions has decided to go for a bit of light comedy with “Lend Me a Tenor,” an effervescent throw-back to the screwball comedy.

“Lend Me a Tenor,” which opened at Your Theatre in Willow Common in North Conway last night, centers on the complications involving a performance in Cleveland by Tito Merelli (Kevin O’Neil), a famous Italian opera singer.

Because of a string of misunder-standings, Max (Andrew Brosnan), the assistant to the opera company’s general manager (Paula Jones) must impersonate Tito, which only results in an increasingly more convoluted series of mistaken identities.

Playwright Ken Ludwig’s script, which fi rst appeared in London in 1986 before moving to Broadway in 1989, is very much in the tradition of the screwball comedy and is even set in the decade in which they fl ourished: the 1930s. Screwball comedy is often used interchangeably with slapstick, but slapstick is just one of the ingredi-ents of a successful screwball comedy.

The screwball comedy as it emerged in the 1930s was infl uenced by the farcical comedies of Shakespeare and Oscar Wilde. Misunderstandings, double entendres, innuendoes and rapid-fire dialogue are mixed with Chopspratfalls and a progressively more anarchic tone. All of these elements are on display in “Lend Me a Tenor.”

There’s a misconception that drama is diffi cult and comedy is easy, but an exceptionally well-timed comedy is not a simple feat. As with tragedy, the tone, pacing and delivery have to be just right, especially when dealing in the fast-paced screwball genre.

Ludwig’s script ably re-creates the feel of the genre, and director Ken Martin and his cast and crew have mounted a worthy production that is laugh-out-loud funny, especially in the second act where, as is so often the case in this genre, things escalate to a whirlwind of hilarity.

The impressive set, designed by Mark DeLancey, re-creates a lavish luxury hotel and features plenty of doors for slamming as characters run around during the mounting confusion.O’Neil as Tito and Mary Bastoni-Rebmann as Tito’s wife have a lot of fun with thick, comically over-the-top Italian accents. Bastoni-Rebmann in particular runs with the boisterous Italian stereotype to great effect, and her fi ghts with O’Neil score some of the best laughs in the production. Brosnan, in his fi rst time on stage, fi nds his stride when the show kicks into high gear. As a man who finds himself by pretending to be someone else, Brosnan makes a congenial focal point for the insanity.

Karen Gustafson as a woman with a crush on Tito that’s so big it blinds her to the sweet and kind Max truly embraces the rat-a-tat-tat nature of her dialogue. At times she spits her dialogue out so fast it is a wonder she doesn’t pass out.Carrie Engfer clearly relishes getting to play a vampy actress who seduces a very confused Tito in hopes of getting ahead in show business. In one of the productions best scenes the double entendres are piled on thick and Engfer and O’Neil play it just right.Paula Jones, in a role traditionally played by a man, has a nice edge to her delivery as the tough and cynical com-pany manager. Eric Jordan and Karen O’Neil add even more well-timed humor to the production as two more fans des-perate to get face time with Tito.

If the show has any fl aw it is that in places the repartee could be delivered even faster, but, chances are, as the run of the show progresses the pace will be picked up in those rare places it does slack.For more information visit www.yourtheatre.com or call 662-7591.