Review: A COMEDY OF TENORS at The Arts Theatre, Adelaide
Review by Lisa Lanzi
The Therry Dramatic Society Inc. has delivered a light-hearted night at the theatre with their production of A Comedy of Tenors. Ken Ludwig’s high-octane sequel to the 1989 Broadway smash Lend Me a Tenor - famously hailed by The New York Times as “one of two great farces by a living writer” - transports audiences to a single, chaotic hotel suite at the Faubourg Ritz in 1930s Paris. The volatile mix of four tenors, fiery wives, secret girlfriends, and an impending, trouble-prone operatic concert serves as the perfect recipe for predictable slapstick chaos.
Though door-slamming farce is not one of my favourite genres, the dedication of the Therry team is palpable. Direction by Kerrin Whyte is exactly what this work needs. Farce relies entirely on precision, and Whyte handles the clockwork mechanics of the script with a deft hand. Even though the audience sits comfortably knowing that "it will all work out in the end," we remain thoroughly focused on a frantic journey beset by perfectly timed pratfalls, exaggerated double-takes, a frenzy of exits and entrances, and slick identity shifts.
The cast works well as an ensemble, though some of the accent work slipped here and there across the European and American caricatures, and their collective energy carried the play. There were some minor pacing lags in the first act as the exposition and geometric plot lines were established, but the second act certainly flew by. The production's rhythm will undoubtedly lock into place and settle further as the season progresses.
At the centre of the theatrical mayhem is Ben Todd, who gives his all in a demanding dual performance as both the arrogant, hot-tempered ‘Il Stupendo’ Tito Merelli and Beppo, the more humble bellhop. Todd juggles the physical demands of these two characters with stamina. Hayley McGill as Maria, Tito’s beleaguered but formidable spouse, brings an appropriate flounce to her performance. Chanelle Le Roux adds a glamorous layer of complication, charming the audience as the predatory Russian soprano Tatiana Racón, Tito’s former flame.
Steve Kidd plays Henry Saunders, the passionate but permanently stressed producer on the brink of a breakdown. Serving as comedic foil is Adam Schultz, who channels charm as Max, Saunders' reliable offsider and professional problem-solver and son-in-law. Rounding out the cast are Parisya Mosel as Carlo Nucci and Amelia Baldock as Mimi Merelli. As the secret young lovers, Mosel and Baldock bring a sweet romantic energy to the stage, a contrast to the broader comedic strokes around them.
As always, it takes a village to bring a production of this scale to life, and the creative team behind the scenes obviously gave their utmost to recreate the glitz of the 1930s. Kristina Kidd, along with a dedicated team of helpers, has designed a visually striking Art Deco set that provides both the necessary aesthetic luxury and the sturdy, functional doors essential for farcical timing. This is complemented by Michael Bentley’s lighting design and Sean Smith’s sound design, the latter managing multiple roles including promotion. Gillian Cordell and Sandy Faithful deliver apt costuming that reflects the era's elegance, while Anne-Louise Smith’s hair and wig styling perfectly complete the period transformations.
Spoiler Alert! Prior to the final bows, the production delivers one last stroke of theatricality: the cast enacts a breathless, synchronized reprise of the entire narrative at break-neck, "silent film" speed concluding an evening of theatrical escapism.
