Of Ken Ludwig’s 34 plays and single musical, “Lend Me A Tenor” remains his most popular. The reason is simple. In a word, it’s Max.
Max is the poster child of that unappreciated, undervalued corporate employee who always makes his employer and co-workers look better than they are. Max works at an opera house. He sings, but no one knows just how good he is. When a visiting opera singer falls ill, he offers to perform in his place. Max’s blustering, officious boss, Saunders, scoffs at the prospect.
“Ladies and gentlemen. May I have your attention please. Tito Mirelli, who is scheduled to make his American debut with the Cleveland Grand Opera Company. is regrettably indisposed. But, but, I have the privilege to announce the role of Pagliacci will be sung by a somewhat gifted amateur making his very first appearance on this or indeed any other stage, our company’s very own factotum, gopher and all around dogbody, Max. Do you see the problem?” Saunders says.
Shy, timid, downtrodden, Max is not a dogbody. He’s an … underdog.
Like Cinderella, Rocky, Luke Skywalker and The Karate Kid, he has heart and senses his inner greatness.
“He really does feel like he has some kind of destined sense of purpose,” said John Strealy, who plays Max. “He’s really destined for something more than what he’s been offered him.”
Decent and empathetic, Max befriends and, in turn, is befriended by the Italian tenor known as Il Stupendo, who gives Max an impromptu singing lesson.
Tito Mirelli: “Go ahead. Si.
Max: “Anything special?
Tito Mirelli: “Picka you favorite. Go.
Max: “Alright. [Singing]
Tito Mirelli: “Stop! Stop. Stop. You too tense.”
His talent validated, Max ventures off with newfound self-confidence - the proverbial little guy overcoming seemingly insurmountable obstacles to achieve great success, and win the girl.
Therein lies the secret to “Lend Me A Tenor’s” enduring popularity and success. Audiences love to cheer on underdogs. They give us hope that people like ourselves can do anything, even sing opera. People like us are just as good, if not better than the Saunderses of the world. It’s part of our American DNA.
And that explains why this show is such a rewarding theatrical experience.
The Studio Players’ production of “Lend Me A Tenor” is onstage in the Joan Jenks Auditorium at Golden Gate Community Center through Sunday, April 13.
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In “Lend Me A Tenor,” world famous Italian tenor Tito Mirelli is set to make his American debut in the role of Pagliacci at Cleveland Grand Opera. The opera’s general manager, Henry Saunders, is beyond stressed about everything turning out right and insists that his assistant, Max, a nervous young fellow and secret tenor extraordinaire -- watch over Tito’s every move to ensure smooth sailing. After a huge fight with his fiery, Italian wife, Maria, Tito inadvertently receives a double dose of tranquilizers and passes out seemingly dead. Throw in Diana, an ambitious female co-star; Maggie, Max’s giddy girlfriend and Tito Mirelli fan girl; Julia, the flirty head of the opera guild; and a meddling bellhop fighting for Tito’s attention, and you have a recipe for comedic disaster.
“It’s a slamming-door farce,” Studio Players Director Paula Keenan confirmed. “But there’s heart in it as well.
Keenan has seen a half dozen of Ludwig’s comedies (including “Leading Ladies” and “The Game’s Afoot”) and played the part of Julia Webber in a production of “Lend Me A Tenor” years ago.
“I would say that with ‘Lend Me A Tenor’ he hit the jackpot.” Keenan added. “It’s fast. It’s funny. Audiences love it. And I like the fact that it has heart.”
Matt Flynn, who plays Saunders, said the reason audiences love “Lend Me A Tenor” is because “it’s hysterically funny and, done right, it’s just so madcap fast. It’s a ridiculous story, and all the characters are just over the top.”
A number of reviewers have called “Lend Me A Tenor” one of the two best farces ever written. “That means,” said Strealy, “there’s a lot of door slamming.”
Like his castmate, Strealy loves the comedy’s pacing.
“It’s a very, very fast, witty comedy. So there’s definitely a lot of laughs to be had in this show. Audiences will like all the hopeless situations Max finds himself in, and all the shenanigans that ensue.”
Those “hopeless situations” are stepping stones in Max’s journey of self-actualization. To negotiate them successfully, he must develop, then display self-confidence. Mirelli’s validation of his talent provides Max’s first big boost. But he nearly falters when it’s time for him to take the stage as Mirelli dressed as the clown Pagliacci.
It’s one thing to sing in front of the great tenor in the privacy of his hotel room, but quite another to perform as Mirelli in front of an audience composed of his adoring fans.
While America loves an underdog, it hates a loser. This is the point in the story during which Max has to reach deep inside, believe in himself and take that leap of faith – like Rocky entering the ring against Apollo Creed; like Luke Skywalker taking aim at the power source of the Death Star with Darth Vader close on his tail; like the Karate Kid doing battle with Cobra Kai in the karate match at the story's end.
What makes people love underdogs are their human frailties. Underdogs are all too human. They’re ordinary. They’re flawed. They are plagued with self-doubt.
But they persevere.
Often, that inspiration comes in the form of a love interest.
For Rocky, it was Talia. For Skywalker, it was protecting his sister. In Karate Kid, it was Ali Mills. In “Lend Me A Tenor,” it’s Saunders’ daughter, Maggie, who is infatuated with the Italian tenor. When, thinking she’s speaking to Mirellie, Maggie begs Max to perform, he realizes he cannot disappoint her. So his desire for Maggie is the final goad that helps him to overcome the obstacle of his own insecurity.
The storyline coupled with Max’s character arc delivers the message to audiences that the extraordinary is within reach of every ordinary person. Reinforced with this conviction, people walk out of the theater feeling energized, filled with renewed hope that anything is possible. Therein lies the reason “Lend Me A Tenor” is still Ken Ludwig’s most popular and enduring comedy.
In addition to Matt Flynn and John Strealy, Director Paula Keenan’s cast includes Rosie DeLeon as Maggie Saunders, Cindy Sepich as Diana, Casey Cobb as Julia, Kathleen Barney as Maria and Alex Gonzalez as the Bellhop.
Support for WGCU’s arts & culture reporting comes from the Estate of Myra Janco Daniels, the Charles M. and Joan R. Taylor Foundation, and Naomi Bloom in loving memory of her husband, Ron Wallace.