By Amanda VanNostrand.
As tensions loom all around the real world, respite can be found at Walnut Street Theatre between now and March 3rd. Ken Ludwig’s A Comedy of Tenors is currently on Walnut’s Mainstage and one can certainly shut off their brain and emotions (save those that connect with comedy) as they partake in the story. Full of laughter and silliness in 1930s Paris, A Comedy of Tenors is a delight.
A Comedy of Tenors is a comedy all around: its entirety is silly and not a deep, thought-provoking line is uttered the whole show. The story takes place hours prior to “The Concert of the Century!” Frank Ferrante is both a star and director of the show. His character, Tito, is an opera singer set to head to the stage that very day. As misunderstanding after misunderstanding occurs between himself and his wife, daughter, daughter’s lover, fellow singer, and mistress from the past (and as the audience witnesses each understanding and imagines the perspectives of each hilarious character), the audience waits to find out if truths and realities will unfold, and whether or not “the show must go on”.
Ken Ludwig is the Playwright, and he wrote A Comedy of Tenors after the revival of his 1986 show Lend Me a Tenor in 2010, which included many of the same characters and took place within the same world. Viewers may be surprised to know that it was written this recently, as its humor presents as if from an earlier time. (The ages of audience members will likely determine one of two opinions: whether the comedy and story are outdated, or simply in line with older classics.)
Despite the potentially outdated jokes and storyline (or tone, perhaps? It is difficult to put a finger on what about this show seemed a bit untimely), the play will bring laughs to most. The writing is certainly to thank for this, but the actors and actresses bring the laughter all the way through. Frank Ferrante, as mentioned earlier, is a highlight of the show and gives a similar performance to his role in A Funny Thing Happened On The Way to the Forum. He plays his clueless character(s) to their extremes, and turns their ignorant, stubborn tendencies into pieces for the audience to look forward to from scene to scene. Additional familiar faces grace the stage in this one as well: Karen Peakes, Alanna J. Smith, Ben Dibble, and Scott Greer all return for A Comedy of Tenors and bring endearing life to their characters too. Peakes’s performance is especially exquisite; she does not miss a beat and seems the perfect choice for the role of Maria. As this is a cast full of Walnut Street’s favorite actresses and actors, this performance is incredibly well played out. It is also worth noting that although the cast performs well throughout the whole show, the ending is unlike any of any other show, and the talent of each cast member shines brightest in this scene. I will say no more; it needs to be witnessed to gain the appreciation it truly deserves. Unique and perfected by each actor, the ending is certainly a scene to look forward to.
Audrey Hepburn once said, “Paris is always a good idea”, and 1930s Paris is no exception. The scenery (David P. Gordon) is beautifully done. A window frames a silhouette of the Eiffel Tower while classy French statues grace each side of the room and a brick wall overgrown with ivy can be found outside of another window. The set, portraying a ritzy hotel room (because, what other kind of hotel room could one expect in 1930s Paris?) meshes well with the costumes (Mary Folino) which are not much to write home about for the men, but the women wear dresses (in the scenes where they’re dressed, anyway) that are to envy. Folino and Gordon have done a great job in adding visual pleasure to this already enjoyable story.
A Comedy of Tenors may not be the best show that Walnut Street has hosted, but it is certainly going to satisfy anyone looking for a night of comedy and entertainment.