Laughs Abound at MTC’s Lend Me a Tenor!
By Kiersten Bjork (November 5, 2022)
Ken Ludwig’s Lend Me a Tenor at Music Theatre of Connecticut, directed by Pamela Hill, is a hilarious romp featuring excellent performances all around. Set in 1934 in Cleveland, Lend Me a Tenor tells the story of a one-night only performance at the Cleveland Grand Opera, set to feature the famous opera tenor, Tito Mirelli. When nothing goes as planned, this hysterical farce takes off and leaves the audience laughing even after the final bows. MTC’s production showcases a strong cast playing into the many aspects of farce – from slapstick moments to disguises and mistaken identities – producing a truly enjoyable evening of theatre.
Ken Ludwig’s Lend Me a Tenor at Music Theatre of Connecticut, directed by Pamela Hill, is a hilarious romp featuring excellent performances all around. Set in 1934 in Cleveland, Lend Me a Tenor tells the story of a one-night only performance at the Cleveland Grand Opera, set to feature the famous opera tenor, Tito Mirelli. When nothing goes as planned, this hysterical farce takes off and leaves the audience laughing even after the final bows. MTC’s production showcases a strong cast playing into the many aspects of farce – from slapstick moments to disguises and mistaken identities – producing a truly enjoyable evening of theatre.
The Company of Lend Me a Tenor at MTC (Alex Mongillo)
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Alexandra Fortin and Michael Fasano in Lend Me a Tenor at MTC (Alex Mongillo)
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Lend Me a Tenor requires superb comedic timing, and MTC’s company does not disappoint. Each performer brought their own humorous nuances to their characters, creating a bright pallet of entertainment for the audience to enjoy.
As Max, Michael Fasano portrayed his character’s arc brilliantly. Max transforms from just the assistant, lacking in confidence, to an opera singer with conviction and faith in himself, which Fasano truly embodies. His singing, both in duet with Frank Mastrone’s Tito Mirelli, and solo at the close of the piece, is quite impressive.
Mastrone’s performance as legendary opera singer Mirelli is full of hilarity and Italian flair. He digs into the physicality of Mirelli, conveying a wide range of emotions at times with just a silent facial expression, and at others with sensational, full-out gestures.
Alexandra Fortin shines as Maggie Saunders, daughter of the general manager of the Opera Company. Fortin brings a youthful light to her role, playing on Maggie’s naivety and search for a “fling” as she dances between her suitor, Max, and the grandiose Mirelli.
MTC’s co-founder, Managing Director, and Conservatory Director, Jim Schilling, plays general manager Henry Saunders. Schilling’s Saunders is an overzealous man doing his best to lead in a situation that no one could have planned for. Schilling is fun to watch in this role, particularly in his interactions with Fasano early in the show as they prepare for Mirelli’s imminent arrival.
Cynthia Hannah storms in with strength and spunk, stealing the show in her scenes as Mirelli’s wife, Maria. The back and forth bickering of the couple is quite comical, made all the more so by the accents and “Italianisms” that the other characters have to decipher.
Jo Anne Parady’s Julia is delightful – a sweet, old soul who looks absolutely gorgeous in her opera gown. Emily Solo takes on the seductive Diana, soprano at the Opera, and tackles the role with style and charm. Her Diana is sultry, yet sharp, fed by dramatic physical choices and inflection. Jeff Gurner injects even more humor into every scene that he enters as the Bellhop, adding to each situation with his most opportune, or perhaps inopportune, timing.
As Max, Michael Fasano portrayed his character’s arc brilliantly. Max transforms from just the assistant, lacking in confidence, to an opera singer with conviction and faith in himself, which Fasano truly embodies. His singing, both in duet with Frank Mastrone’s Tito Mirelli, and solo at the close of the piece, is quite impressive.
Mastrone’s performance as legendary opera singer Mirelli is full of hilarity and Italian flair. He digs into the physicality of Mirelli, conveying a wide range of emotions at times with just a silent facial expression, and at others with sensational, full-out gestures.
Alexandra Fortin shines as Maggie Saunders, daughter of the general manager of the Opera Company. Fortin brings a youthful light to her role, playing on Maggie’s naivety and search for a “fling” as she dances between her suitor, Max, and the grandiose Mirelli.
MTC’s co-founder, Managing Director, and Conservatory Director, Jim Schilling, plays general manager Henry Saunders. Schilling’s Saunders is an overzealous man doing his best to lead in a situation that no one could have planned for. Schilling is fun to watch in this role, particularly in his interactions with Fasano early in the show as they prepare for Mirelli’s imminent arrival.
Cynthia Hannah storms in with strength and spunk, stealing the show in her scenes as Mirelli’s wife, Maria. The back and forth bickering of the couple is quite comical, made all the more so by the accents and “Italianisms” that the other characters have to decipher.
Jo Anne Parady’s Julia is delightful – a sweet, old soul who looks absolutely gorgeous in her opera gown. Emily Solo takes on the seductive Diana, soprano at the Opera, and tackles the role with style and charm. Her Diana is sultry, yet sharp, fed by dramatic physical choices and inflection. Jeff Gurner injects even more humor into every scene that he enters as the Bellhop, adding to each situation with his most opportune, or perhaps inopportune, timing.
Frank Mastrone as Tito Mirelli in Lend Me a Tenor at MTC (Alex Mongillo)
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Emily Solo as Diana in Lend Me a Tenor at MTC (Alex Mongillo)
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Scenic and props designer, Sean Sanford, has provided MTC with an extremely clever set. The many doors provide great sound and visual effects as characters run in and out of the room, hiding behind one door only to quickly switch to the next. Lighting designer RJ Romeo accents the show with sharp color shifts in moments of comedic passion that elevate those scenes even further. As costume designer, Diane Vanderkroef has chosen wonderful colors and textures, particular favorites being Julia’s opera gown, and Tito Mirelli’s suit, complete with an opera scarf. The hair and wig design by Peggy De La Cruz is beautiful, with Julia and Diana’s designs as standouts. Sound design by Will Atkins provides a strong support for the performers as phones ring and music soars.
Lend Me a Tenor at MTC has the audience in stitches from start to finish, and is a delight for any comedy-lover. Treat yourself to a fun night out – see Lend Me a Tenor before it closes on November 20!
Lend Me A Tenor will run three weekends from November 4–20, 2022 with performances on Fridays & Saturday at 8pm and Saturdays & Sundays at 2pm. Ticket prices range from $40-$65 plus fees and can be purchased online (www.musictheatreofct.com/lendmeatenor) or over the phone (203-454-3883). MTC MainStage is located at 509 Westport Ave. in Norwalk, CT.
Kiersten Bjork is a theatremaker and reviewer from Branford, CT, currently in the mentorship program with the Connecticut Critics Circle.
Lend Me a Tenor at MTC has the audience in stitches from start to finish, and is a delight for any comedy-lover. Treat yourself to a fun night out – see Lend Me a Tenor before it closes on November 20!
Lend Me A Tenor will run three weekends from November 4–20, 2022 with performances on Fridays & Saturday at 8pm and Saturdays & Sundays at 2pm. Ticket prices range from $40-$65 plus fees and can be purchased online (www.musictheatreofct.com/lendmeatenor) or over the phone (203-454-3883). MTC MainStage is located at 509 Westport Ave. in Norwalk, CT.
Kiersten Bjork is a theatremaker and reviewer from Branford, CT, currently in the mentorship program with the Connecticut Critics Circle.