Metropolis production of 'Lend Me a Tenor' blends slapstick, silliness

Comedy may not cure our economic infirmities, but it sure can alleviate some of the symptoms.

Case in point: Metropolis Performing Arts Centre's spirited production of "Lend Me a Tenor," Ken Ludwig's undemanding farce about an Italian opera star's indisposition upending an opera company's gala benefit performance. Artful plotting aside, this "Tenor" isn't a perfect palliative. Ludwig's dialogue is amusing, but his satire on celebrity and self-interest has no real bite. His sparring spouses, nebbishy underlings and blustering impresarios never extend beyond a single dimension, and his overlong first act drags. Although the playwright makes up for it with a superior (and sexier) second act. Still, "Tenor's" slamming doors and double-entendres, misunderstandings and mistaken identities, and the inevitable compromising situations involving scantily dressed characters make for a good time during these troubled times.

Director Robin M. Hughes prescribes the right combination of slapstick and silliness in this well-timed, well-rehearsed romp. There are noteworthy performances from Brian D. Simmons as an aspiring opera singer, Brian McCartney as the mercurial Italian divo and Lisa Liaromatis as his long-suffering wife.

The play unfolds in 1934 in Cleveland, Ohio, where Max (the immediately likable Simmons) - a mousy young man with a marvelous voice - works as gofer and all-around factotum for Henry Saunders (an appropriately apoplectic Lars Timpa), beleaguered manager of the Cleveland Grand Opera Company.

Eager to fill the company's coffers, Henry arranges for Tito Merelli (McCartney, more magnanimous than the character deserves), world-renowned tenor and world-class womanizer, to star in the company's benefit production of "Otello." Tito arrives late, feeling unwell and arguing with his feisty Italian spouse, Maria (the terrific Liaromatis, making the most of her limited stage time). After an accidental sleeping pill overdose leaves Tito comatose, Henry cajoles Max into going on in his place. It seems the perfect solution until Tito wakes up and tries to reclaim his place in the spotlight. That leads to a series of mix-ups involving Maggie, (a charming, determined Lauren Creel), Max's fiance who's smitten with Tito; Diana (Michelle Weissgerber), the opera company's ambitious leading lady looking to trade sex for a role at the Met; Julia (Joan McGrath), the dowager who chairs the opera board and controls Henry's future, and a star-struck bellhop (Michael A. Gravame) who just wants to get close to his idol.

Metropolis has produced some striking sets of late, and designer Mike Gehmlich continues the tradition with his richly appointed, nicely detailed art deco hotel suite done in red, black and gold.

Farce may not cure what ails us, but if laughter is the best medicine, Metropolis' "Lend Me a Tenor" is the tonic for today.