Great fun & lots of laughs in AST’s big, bold & stylish Lend Me a Tenor

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Peter Raimondo & Darrell Hicks in Lend Me a Tenor – photo by John Meadows

Alexander Showcase Theatre (AST) opened its production of Ken Ludwig’s hilarious romp Lend Me a Tenor at the Papermill Theatre at Todmorden Mills on Thursday, directed by Vincenzo Sestito.

Set in 1934 in a hotel suite in Cleveland, Cleveland Grand Opera Company manager Henry Saunders (Seth Mukamal), his daughter Maggie (Anne-Marie Krytiuk) and his assistant Max (Peter Raimondo) anxiously await the arrival of world-famous tenor Tito Merelli (Darrell Hicks), a stellar performer who’s big on wine and women, but not so much on punctuality. Add to the mix a fanboy Bellhop (Steve Kyriacopoulos, doing double duty as producer), Merelli’s jealous wife Maria (Sharon Zehavi, also the graphic designer), the opera company’s resident diva Diana (Nina Mason) and the Saunders’ doting family friend Julia (Michele Dodick), throw in some mistaken events and a comedy of errors – and hilarity ensues.

Lend Me a Tenor is a prime example of a go big or go home enterprise – and the AST cast brings it big time. Krytiuk is adorably feisty as the star-struck, wide-eyed romantic Maggie, a young woman longing for adventure and excitement, away from the watchful eye of her controlling father. Mukamal’s Henry is all business; gruff, bombastic and able to turn a dramatic and moving phrase when called for, his company’s production of Otello a make or break proposition. Raimondo is sweet and humble as the hard-working, put-upon Max; a lover of opera himself, but always toiling in the background, he’s in love with Maggie and wants to prove himself. Kyriacopoulos gives a great comic turn as the persistent and irritating but likeable Bellhop, a fanboy opera lover himself who needs no excuse to insert himself into the action.

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Seth Mukamal & Michele Dodick with Anne-Marie Krytiuk & Steve Kyriacopoulos in the background – photo by John Meadows

Hicks gives a larger-than-life, but warm performance as the brilliant and generous Merelli; mining the sensitive and sensual soul of the famous tenor, he finds the facets of Merelli and avoids a two-dimensional rendering – and he’s got an impressive set of pipes. As Merelli’s fiery wife Maria, Zehavi is by turns sexual and sexually frustrated; fully aware of her husband’s penchant for dalliance, she is ever on the prowl for hidden mistresses – and at the end of her rope with trying to keep up. Mason gives us a sensual, wry-witted performance as the slinky and driven soprano Diana, an ambitious opportunist who’s willing to do whatever it takes to make it to the Met. And Dodick is a delight as the Saunders’ friend Julia; “Aunt Julia” to Maggie and a big Merelli fan herself, she’s a jovial and positive force to be reckoned with.

With shouts to the design team for the sleek 1930s vintage flare: Gwyneth Sestito (music co-ordinator and costumes), Deborah Mills (props) and Peter Thorman (set).

Everyone loves a tenor, especially the ladies. Great fun and lots of laughs in Alexander Showcase Theatre’s big, bold and stylish Lend Me a Tenor.

Lend Me a Tenor runs at the Papermill Theatre until Dec 5; see the show’s page for dates/times and advance tickets.

You can also keep up with Alexander Showcase on Facebook and Twitter.

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Bloody good musical macabredy fun in Alexander Showcase Theatre’s Sweeney Todd

ST_Web_Banner-685x269From the dark, seedy nooks and alleyways of the foggy set, and creepy opening organ music to its tragic ending, Sweeney Todd: The Demon Barber of Fleet Street takes us from pathos to camp and back again in this story of one man’s singular and bloody drive for revenge gone horribly astray.

With music and lyrics by Stephen Sondheim, book by Hugh Wheeler and adapted by Christopher Bond, this particular trip to the dark side of Fleet Street comes courtesy of the folks at Alexander Showcase Theatre (ASL), directed by Vincenzo Sestito, with music direction by Gwyneth Sestito and choreography by Jaime Robertson – running now at the Al Green Theatre. ASL’s Sweeney Todd features a cast of thousands, with a fine and energetic ensemble, and an outstanding core cast that includes some familiar faces and voices.

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Patrick Brown & Sara Stahmer in Sweeney Todd – photo by John Meadows

As the titular infamous barber, Patrick Brown (back with a fright wig hair style last seen when he played the title role in ASL’s Young Frankenstein) gives a compelling portrayal of a man both frozen with grief and seething with rage, the layers of heartbreak and guilt showing beneath the bitterness and merciless sense of vengeance (so aptly illustrated in his ode to his collection of razors “My Friends”). As Todd’s landlady and partner in crime Mrs. Lovett, Sara Stahmer bursts onto the stage, buxom, raucous and larger than life, taking the piss out of herself and her pie shop as she shouts from the rooftops about “The Worst Pies in London.” A woman with secrets and desperately in love with Todd, she’ll do anything to keep him with her as their individual needs and desires marry into an unspeakable arrangement.

Seth Mukamal is diabolically chilly and repugnant as the tyrannical and corrupt Judge Turpin, a covetous and nasty man with a hint of the romantic (“Pretty Women,” an ironic and suspenseful duet with Todd). Jeremy John Yorga gives a great turn as Turpin’s right hand man Beadle Bamford, a sinister soul with a flair for flattery and a taste for quaint old tunes (“Parlour Songs” with Mrs. Lovett and Tobias). As the secret, put-upon young lovers Anthony and Johanna, Joshua Wales and Alexandra Reed have adorable chemistry. Reed’s beautiful crystalline voice in “Green Finch and Linnet Bird” is the essence of Johanna’s innocence and longing, and Wales’ soaring, heart-felt “Johanna” offers a glimmer of hope for these bright-eyed young people – brief moments of optimism in an otherwise hopeless and harsh world. Nina Mason is endearingly cocky as the boy Tobias, a seasoned salesman and showman despite his youth – and a lad with a crush, intent on being Mrs. Lovett’s protector (“Pirelli’s Miracle Elixir” and “Not While I’m Around”). As Todd’s professional rival, the pompous huckster Adolfo Pirelli, Darrell Hicks gives us a sly and slick charlatan with an amazing set of operatic pipes. And as the mysterious Beggar Woman, Sharon Zehavi gives a performance that is both bawdy fun and poignantly heartbreaking, skulking in the shadows, haunted by the vague memory of a former life (“Ah Miss” and “Wait”).

With shouts to set designers Peter Thorman (also Head Builder) and Beth Roher (also Head Scenic Artist), and costume designer Cheryl Lee for their evocative period creations. And to the ASL orchestra, a small but mighty force of fine musicians.

ASL’s Sweeney Todd is some bloody good musical macabredy fun with an excellent cast. Get on over to the Al Green Theatre for some darkly funny, thrilling good times.

Sweeney Todd continues at the Al Green Theatre until May 10; you can purchase advance tix online here.