Scripps Ranch Theatre’s “Lend Me a Soprano” delivers fast-paced farce, standout vocals, and nonstop comedy
Scripps Ranch baptized their season 46 as the “Diva,” and it is living up to the expectation with the current production of Lend Me A Soprano, by Ken Ludwig. A playwright who definitely knows his comedy and how to keep it going.
The Cleveland Grand Opera Company is ready to welcome world-class soprano Elena Firenzi (Britania Cortez) for a one-night-only performance in the starring role of Carmen. The opera’s general manager, Mrs. Lucille Wylie (Wendy Waddell), is thrilled and stressed by the endeavor, the donors, and what this means for Cleveland. Her son, Jerry (Dennis Peters), is also thrilled about the Italian diva coming, as they had a “meaningful” encounter a couple of years back. Jo (Leigh Akin), Lucille’s assistant, Jerry’s girlfriend, and also a soprano, is in charge of the whole thing and tasked with being by Elena’s side at all times, enforcing no alcohol and no men. When Elena arrives with her husband, Pasquale (Durwood Murray), her stomach is all over the place. Being that she has to sing in a couple of hours, Jo steps in and makes it worse. Add to the mix an eccentric chairwoman (Bobbi Randall as Julia), a fan-girling bellhop (Hayden St. Clair), and a seductive “Casanova” tenor named Leo (Marcel Ferrin).
The hilarious two-act play, in a Ludwig manner, keeps on giving minute after minute, having the audience’s brain do a workout to catch up and stay engaged thanks to Dixon Fish’s bright yellow set design of Elena’s hotel suite, which is divided into two areas, with a living room and the bedroom. And in true vaudeville manner, a number of doors for everyone to come in and out, with tremendous slams. Props are always fun, and Duane McGregor had us join in the fun with different elements like a suitcase, a champagne bottle, and a hilarious bit with a grape that has to be seen.
Kate Rose Reynolds directs the piece, and it is cool to see her vision in a comedy of errors after last year’s directorial job at Scripps with Mary’s Wedding. Because the action happens in two places, sometimes in the middle, the frame lends a house-view variety that Reynolds handled well, charging activity on one side while balancing it with more static frames on the other. Josie Gerk’s lighting definitely contributed to that frame, using a solid, well-lit setting to play with the colors in both rooms, then fading to black for added oomph.
Wendy Waddel is a delight as the woman in charge, Lucille, mixing the right doses of cynicism and sass that make for a very credible character. Waddel is a generous scene partner, with good chemistry with the rest of the cast and a strong portrayal. She and Bobbi Randall had relatable/realistic roles (IYKYK). Well, I live under a rock because I had no idea that Leigh Akin was an opera singer! She shares a breathtaking scene with Britania Cortez, both musical and histrionic, where both actresses do a beautiful rendition, adorned with a good sorority moment where one cheers the other. Akin also seemed very much in her element in the high-paced comedy, landing mannerisms and punchlines. Cortez also with a fantastic voice and a very authentic-sounding Italian accent, also courtesy of Rhiannon McAfee’s coaching. Leslie Leytham was in charge of the musical direction; the singing, combined with Robert May’s sound, was fitting for the small space as it did not echo or bounce.
The pièce de résistance was Carmen’s look, based on Heather Nunn’s design, making the iconic red Flamenco dress her own with a beaded corset and lace, along with Brooklyn Justice’s wig, which rounded it all out nicely. Another wig Jo wears is pretty iconic as well. Nunn’s selections for the grand opera event for both Wendy Wadell and Bobbi Randall were beautiful.
Although Jerry is an iffy character to like, Dennis Peters made him funny with a charming aloofness. Durwood Murray was fun as Pasquale with Italian flair and good comedy. I was happy to see Marcel Ferrin back on the stage after a while. His Leo was naughty and hilarious. Kandace Crystal’s intimacy direction came in very handy for Ferrin’s scenes with Britania and Akin as well. Hayden St. Clair, as the hardcore-fan bellhop, was an absolute scream and provided balance amid the chaos during their scenes.
Lend Me a Soprano is a fun-paced comedy with a few twists that will leave audiences belting a note.
I do have this reflection: For a play that recently premiered in 2022, I would have expected more redemption for the character of Jo. But dear reader, I want you to see it and let me know.
Currently playing until May 17.
Tim Benson is the Stage Manager for this production, and Jayme Rubenstein is the Assistant Stage Manager.
Check out our interview with Kate Rose Reynolds from last year and the tour Tim gave us of Scripps Ranch Theatre.
