June 27–September 1Randall L. Jones TheatreLend Me aTenor: TheMusical—A ModernClassicBy Lawrence HenleyTHE JOB OF PRODUCINGdirector, whether for a theatretroupe, symphony, ballet, or operacompany, isn’t necessarily what it’s crackedup to be. When lay persons think of showbusiness and the highest performing artforms, what are their first impressions? Ah,yes—of course it’s the glamour, prestige, andthe glory! The limousines, soirees, and lavishpremieres! Fancy luxury homes completewith swimming pools shaped like treble clefsand masks of comedy and tragedy. Rubbingelbows with fascinating artists and celebrities.Yes, certainly that’s the sweet, succulent lifeof the typical producing director—well isn’tit? Hmm. Not exactly.The world of performing arts managementis every bit as complicated and stressfulfor the guys and gals in charge asany high visibility profession, perhaps moreso. “Really,” you would say? Exactly what arethe pitfalls common to this career? For starters,many performing arts (especially theatre,ballet and opera) are known as “the collaborativearts.” This being the case, it standsto reason that problems in dealing with artistsand support staff one collaborates withwould be a good place to begin looking forVictoria Adams-Zischke (left) as Little Buttercup andMark Light-Orr as Captain Corcoran inH.M.S. Pinafore, 2006
complications. An initial sampling of thesehassles might include union and other laborproblems involving stagehands, designers,musicians, dressers, etc. Other wackycharacters could be ersatz board members,demanding donors, and testy patrons.Still, most of that tedium and hasslepales in comparison to the Numero Unoscourge of the entertainment producer: dealingwith the big ego dons and divas of thebusiness who believe the world (and everyoneand thing in it) is their plaything. Ruleswere meant to be broken, right? Many a starperformer exemplifies this cliché, which wasseemingly invented to justify their behavior.In some cases, producers grapple with starsthat also have a penchant for good wine,extramarital romances, and prescriptionsubstances (such as barbiturates). With thatrevelation, welcome to the world of Lend Mea Tenor: The Musical’s Henry Saunders.Poised at the brink of the biggest grossingnight in the history of the ClevelandOpera, Mr. Saunders believes that he’s aboutto open his doors for a final dress rehearsalwhich will welcome to his stage the greatestoperatic tenor on the planet. Instead,he opens up a sarcophagus full of troubleand confusion which, at one point in theproceedings, appears to be a double funeral:a real one for the tenor, and a figurative onefor Henry’s career as a producer.Lend Me a Tenor: The Musical fieldsa solid creative team, beginning with KenLudwig, the author of the original stageplay upon which the musical is based.Lend Me a Tenor debuted at Broadway’sRoyale Theatre in 1989, garnering a pairof Tony Awards. Since its initial New Yorkrun of 476 performances, the show hasbeen produced non-stop nationally andinternationally. Fortunately for audiencesat the <strong>Utah</strong> <strong>Shakespearean</strong> <strong>Festival</strong>, it hasnow inspired the musical adaptation whichwill debut at the <strong>Festival</strong> in the summer of<strong>2007</strong>. Lend Me a Tenor: The Musical is thebrainchild of inveterate <strong>Utah</strong> <strong>Shakespearean</strong><strong>Festival</strong> Director Brad Carroll (Man of LaMancha, Spitfire Grill, Christmas Carol: Onthe Air) and actor/playwright/screenwriterand Southern <strong>Utah</strong> University theatre professorPeter Sham, a favorite actor at the<strong>Festival</strong> (My Fair Lady, 1776, Camelot, AsYou Like It).Stripped of the new musical score andbook, Ken Ludwig’s Lend Me a Tenor isalready a modern comedy classic worthy ofcomparison to the wildest French and Italianfarces and the best zany domestic comediesof George S. Kaufman and Moss Hart, theMarx Brothers, or Mel Brooks. The play isas funny a pre-WWII showbiz/hotel roomcaper as you are likely to see. The prospectsfor transforming Lend Me a Tenor into acan’t-miss musical evening of “who’s-behindthat-next-door”hilarity were obvious. All ofthe classic character ingredients for a greatmusical comedy are present: Saunders, thedesperate impresario who stands either togain national prominence and a cool fiftygrand, or lose face and a ton of dough; Max,the deserving and honest romantic—a buddingyoung singer waiting in the wings;Maggie, Henry’s daughter and the appleof Max’s eye; Diana, the resident diva whohas “been around the block” a time or two(at least); Tito Merelli, an international starof song to rival the great Caruso (who alsohas a world-class taste for good wine andbeautiful women); Merelli’s (justifiably)jealous wife, Maria; Rupp, the wily bell hop/understudy and would-be composer; and agaggle of star struck guild ladies out to meetMerelli, no matter the obstacles.The humor of desperation is a key elementto this extreme form of stage comedy.On this September Saturday in 1934, justabout everybody in the Cleveland Operahas something on the line. Saunders haspulled out all of the fiscal stops for the galabenefit performance, the American debut ofthe world-renowned “Il Stupendo” (a.k.a.Morelli). Even the President and valued supporterssuch as the Vanderbilts are expectedin the house! Any sort of disaster couldresult in mega-refunds and a catastrophicloss of reputation and support. The voluptuousDiana is looking for her chance to getout of Cleveland and is willing to do anythingfor Morelli in exchange for it. Max isfearful of losing Maggie to the charms of thesemi-lecherous Il Stupendo. Rupp wants thegreat idol to hear his new opera score, hopingfor his big break.At great expense, the stage has been lavishlyset for Verdi’s Otello. A huge contingentof singers, musicians, and support staff are allin place for the biggest musical event in thehistory of Cleveland. Everything is in readiness—exceptfor the star attraction. He hasn’tshown up yet! There’s no real need to go anyfurther into the show’s plot, but rest assured,a grand opera house full of hilarity ensues.The appropriateness of introducingshow tunes to a plot surrounding the operais obvious, and many non-musical comedieshave been adapted successfully to this format:A Funny Thing Happened on the Way tothe Forum, The Producers, My Fair Lady, KissMe Kate, plus lots of others. The addition ofa musical score and book to an already amazingshow should do nothing but augmentits popularity. Prediction: This show and itssongs are definitely bound for “hitsville!”Such Stuffas Dreamsare Made of.—The TempestServing allof Southern<strong>Utah</strong>!• Residential• Cabins• Acreage• CommercialCedar City Office227 S. Main Street866-586-9402John Skougaard,Principle BrokerDuck Creek Office72 Movie Ranch Road866-682-2049Dave Skougaard,Branch Broker<strong>Midsummer</strong> <strong>Magazine</strong> <strong>2007</strong> • 27
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