Lend Me a Tenor
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Introduction to "Lend Me a Tenor"
"Lend Me a Tenor" premiered in London’s West End at the Gielgud Theatre on June 15, 2011, following previews from June 2, and ran for just 54 performances, closing on August 6, 2011. Adapted from Ken Ludwig’s 1986 Tony-nominated play, this musical features a book and lyrics by Peter Sham and music by Brad Carroll. Directed by Ian Talbot, it starred Matthew Kelly as Henry Saunders and Damian Humbley as Max, with Joanna Riding as Maria Merelli. A farcical romp set in a 1930s opera house, its shift from the play’s Otello to Pagliacci and a riotous score aimed to refresh the classic comedy, earning rave reviews but struggling with ticket sales, making it a brief yet memorable West End venture.
The Creative Team Behind the Show
Peter Sham penned the book and lyrics, infusing Ludwig’s farce with musical wit, while Brad Carroll composed a lively score blending opera and comedy. Ian Talbot, an Olivier-winning director, helmed the production, with Randy Skinner’s Tony-nominated choreography adding tap-dancing flair. Matthew Kelly brought bluster to Saunders, Damian Humbley shone as Max, and Joanna Riding dazzled as Maria, joined by Michael Matus as Tito Merelli and Sophie-Louise Dann as Diana Divane. Producers Martin Platt, David Elliott, and Radio Mouse Entertainment, with Paul Farnsworth’s sleek 1930s designs, crafted a polished spectacle that aimed to elevate the play’s slapstick into a full-blown musical hit, despite its short run.
A Chaotic Opera House Caper
Set in 1934 Cleveland, the Grand Opera Company pins its hopes on tenor Tito Merelli, “Il Stupendo,” to save the season with Pagliacci. When Tito’s delayed by a jealous wife, Maria, and overdoses on sedatives after shrimp gone bad, manager Henry Saunders panics, believing him dead. He drafts meek assistant Max to don the clown costume, sparking a whirlwind of mistaken identities three Canios, a scheming soprano Diana, and a tenor-struck ingénue Maggie plus a meddling police force. Songs like "Where the Hell Is Merelli?" and "Finale" propel the madness, ending with Tito alive, Max triumphant, and the opera a chaotic success, a tribute to theatrical resilience.
Performance and Reception
Opening to critical buzz after a Plymouth tryout, "Lend Me a Tenor" earned glowing praise The Stage called it “the most accomplished musical comedy” of the season, and The London Magazine hailed its “enchanting” laughs. Matthew Kelly’s bombast and Humbley’s charm won fans, with Skinner’s tap-dancing bellboys a highlight. Yet, despite standing ovations and a cast recording, its 54-show run cut short from a planned season reflected dismal box office sales, closing just two months after a June 15 debut. Audiences loved the farce, but its retro vibe and competition from "Betty Blue Eyes" and "Shrek" dulled its West End shine, leaving a cult following in its wake.
Legacy in West End Theatre
"Lend Me a Tenor" carved a niche as a bold adaptation, its 54 performances a footnote to the play’s 1986 West End success at the same venue. Its shift to Pagliacci sidestepping Otello’s blackface set a precedent Ludwig later adopted, while its three-Tenor twist upped the farce ante. Post-London, it’s seen regional life Utah in 2007, Germany plans fizzled but no Broadway run materialized despite its 2010 Plymouth buzz. The musical’s cast album and reviews keep it alive for theatre buffs, a West End blip that showcased Sham and Carroll’s flair. Amid giants like "The Lion King," it’s a fleeting, fizzy echo of opera-meets-slapstick daring.