Stellar cast carries production with aplomb

Photo courtesy Elizabeth Mandel

By Camille Bounds

Camille Bounds

Limelight Theater’s production of Ken Ludwig’s “A Comedy of Tenors” delivers a hilarious, fast-paced romp through the world of 1930s opera, proving that what happens backstage can be just as entertaining as the performance itself.

Directed by Allie Bailey, with Joyce Bedard as assistant director, this farcical comedy keeps the audience in stitches from curtain up to final bow.

Set in a luxurious Parisian hotel suite in 1936, expertly designed by Peter Mandel (who also serves as Limelight’s executive director), the play follows the chaotic hours leading up to a highly anticipated concert featuring the world’s most famous tenor. As with any good farce, misunderstandings, mistaken identities, and madcap situations abound, creating a perfect storm of comedic chaos.

The stellar cast carries the production with aplomb. Doug Brook shines as “Tito,” the aging opera star grappling with a mid-life crisis and perceived infidelities. His chemistry with Andy Kline, who plays Tito’s wife “Maria,” is palpable, their 25-year stage marriage feeling lived-in and genuine. The supporting cast, including P.J. Crocker as the young tenor “Carlo,” Lauren DeRosa as “Mimi,” Jason Harris as the harried producer “Saunders,” and Jerry Rosas as “Max,” all contribute to the escalating hilarity with impeccable timing and energy.

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Photo courtesy Elizabeth Mandel

Ludwig’s script, a follow-up to his Tony Award-winning “Lend Me a Tenor,” is a masterclass in farce writing. The plot twists and turns, with slamming doors, mistaken identities, and even the creative use of food items eep the audience guessing and guffawing.

While the show isn’t a musical in the traditional sense, the cast’s preparation with a visiting opera singer lends authenticity to their portrayals of opera stars, even if their actual singing voices are wisely left to professional recordings.

Bailey has crafted a tightly-paced production that never misses a beat. The comedic timing is spot-on, with each actor fully committed to the escalating absurdity of the situations. Their enthusiasm and joy are evident in every aspect of the production.

Peter Mandel’s set design, depicting an elegant Parisian hotel suite, provides the perfect backdrop for the unfolding chaos. The technical aspects of the show, including lighting by Mykal Philbin and sound by Oliver Oliphant, complement the onstage action seamlessly.

While the play does rely heavily on sexual references and assumed infidelities for its humor, it manages to keep things light and playful rather than crude.

The result is a delightful evening of theater that will leave audiences breathless with laughter.

“A Comedy of Tenors” runs at the Morgan Hill Community Playhouse until Sept. 8. For those seeking an evening of pure comedic entertainment, this production hits all the right notes.

It’s a testament to Limelight’s talented staff and performers, proving once again community theater can deliver professional-quality entertainment to South Valley audiences.

Camille Bounds is the theater arts columnist for  Morgan Hill Life.