Musical (2011)

Musique: Brad Carrol
Paroles: Peter Sham
Livret: Peter Sham
Production à la création:

Story: It’s 1934 in Cleveland Ohio, and the night of a make-or-break gala fund-raiser, starring “II Stupendo” - the world famous tenor, Tito Merelli - making his USA debut in Verdi’s “Otello”. Unfortunately, even before the star leaves his hotel room, everything begins to fall apart. Merelli's justifiably jealous wife, mistakes Maggie, the manager’s daughter for a secret lover, and then finds Diana Divane, the Company’s Desdemona, demonstrating her operatic gifts in Merelli’s hotel room. Off storms Maria Merelli in high Italian dudgeon. A distraught Merelli accidentally takes an overdose of tranquilizers to calm him and passes out. Henry Saunders, the Opera House manager, is determined that the show will go on (for his own financial sake), so he asks his
nerdy assistant, Max, secretly a wannabe singer, to black up and pretend to be Merelli. (Blacked -up, no one will know the difference!) Max succeeds very well indeed, until the real Merelli, also blacked-up, wakes up and heads for the stage. What follows is a chain-reaction of mistaken identity, and farcical adventures coming and going through many doors.

It is the biggest night in the history of the Cleveland Grand Opera Company. The world-famous tenor, Tito Merelli, “Il Stupendo,” is to perform his greatest role, Otello, at the ten-year anniversary gala season opener. Henry Saunders, the opera’s executive director, has high hopes that Merelli’s performance will put Cleveland on the operatic map. However, at the final dress rehearsal of Otello, Merelli is nowhere to be found, Saunders is in a panic, and, along with Max Garber, Saunders’s personal assistant, they scramble to figure out what to do (“Where the Hell Is Merelli?”).

Meanwhile, Maggie Saunders, Henry’s daughter, is making preparations for Merelli’s arrival. She has transformed the neighboring Cleveland Hotel lobby (the place set for the gala reception) into a shrine to the opera star. Max enters and insists Maggie shouldn’t get her hopes up, that Merelli might not show. Maggie believes otherwise and has additional plans concerning Merelli (“I Need a Fling”).

Saunders rushes in and presses Max on an alternate plan. To make matters worse, they receive news that the President and Mrs. Roosevelt will be in attendance at the evening’s gala. Desperately, Saunders turns to Max for an idea. Max, who fancies he is something of an opera singer himself, offers a solution (“How ‘bout Me?”). In the middle of the song, Tito Merelli and his volatile wife, Maria, enter incognito. After the song Saunders and Max are told of the Merelli’s arrival and rush to make them welcome.

Fifteen floors above, in the Cleveland Hotel’s penthouse suite, the hotel staff makes final preparations for a royal welcome (“For the Love of Opera”). However, once the Merelli’s arrive at their suite, it becomes painfully clear that Tito is in shaky shape to perform. He is suffering from a terrible stomachache and is at odds with his wife over his preoccupation with women. Maria storms off into the bedroom. Saunders exits to ready the opera company and guild for “Il Stupendo’s performance. Tito enters the bedroom to comfort his wife, but his efforts are to no avail (“I Would Choose You All Over Again”).

After yet another row with Maria, Tito returns to the sitting room. Now alone, Max and Tito share a drink and come together to form a common bond of admiration, friendship, and respect (“Be Youself”). Meanwhile, Tito’s wife is busily composing a note resolving to leave her husband for good, and, when she finds Maggie hiding in the bedroom closet desperate to meet Tito, she angrily departs.

Soon, Tito, somewhat dazed after ingesting a triple dose of tranquilizers, which he has unwittingly mixed with a large amount of Chianti, finds Maria’s note and threatens to kill himself. His tirade is finally calmed by Max who sings him tenderly to sleep with the notion that Maria will be “Back before You Know It.”

Tito passes out, and when Max tries to rouse him, Tito appears to be lifeless. Max comes to the conclusion that Tito is dead! When Maria’s “Dear John” letter is mistaken for a suicide note, Max and Saunders realize the company stands to lose $50,000 in ticket sales unless it can find a way for the “dead” singer to deliver the performance of his life (“Holy $#@!”).

From here on, the play unfolds into a riotous and unpredictable explosion of mistaken identities and renewed love! Finally, at show’s end, everyone is filled with a sense that they just might get the thing each of them desires, and that the Cleveland Grand Opera Company’s future will be a bright one (“Lend Me a Tenor Reprise”).

1 Lend Me a Tenor peut-être considéré comme un Flop musical

Lend Me A Tenor was presented in May 2006 as a staged reading as part of the Utah Shakespearean Festival's New American Playwright Project, in Cedar City, Utah, followed by rewrites and a production as part of USF's Summer 2007 repertory season, which received rave reviews.

The show had an out of town tryout at the Theatre Royal, Plymouth running from 24 September to 6 October 2010, directed by Ian Talbot and choreographed by Randy Skinner. The show began previews in London's West End at the Gielgud Theatre, the same venue where the original play premièred in 1986 on 2 June 2011 before officially opening on 15 June 2011. The show closed on 6th August 2011, with producers Martin Platt and David Elliott stating that "despite mostly wonderful notices from the press, great feedback from our audiences and nightly standing ovations, this has not translated into growing sales and we feel it is in everyone's best interests to close the production on August 6th.”

Act I
Overture — Orchestra
"Verdi's Otello/I/1" — Ensemble
"Where the Hell is Merelli?" — Saunders, Max & Ensemble
"Fling" — Maggie & Max
"Where the Hell is Merelli?" (Reprise) — The Opera Guild Ladies
"How 'Bout Me?" — Max & Saunders
"For the Love of Opera" — Ensemble
"Facciamo L'Amor" — Tito & Maria
"The Last Time" — Maria
"Be Yourself" — Tito & Max
"Before You Know It" — Max
"How 'Bout Me?" — Saunders & Max
Act I Finale — Saunders, Max & Ensemble

Act II
Entr'acte — Orchestra
"Il Stupendo" — Ensemble
"Lend Me a Tenor" — Maggie & Max
"May I Have a Moment?" — Diana & Tito
"Il Stupendo" (Reprise) — Maggie, Max, Diana & Saunders
"Il Stupendo" (Reprise) — The Opera Guild Ladies, Tito & Ensemble
"Knowing What I Know" — Max
"The Last Time" (Reprise) — Maria
Finale — Company

Aucun dossier informatif complémentaire concernant Lend Me a Tenor

Aucun dossier informatif complémentaire concernant Lend Me a Tenor

Version 1

Lend Me a Tenor (2010-04-Music Box Theatre-London)

Type de série: Original Broadway
Théâtre: Music Box Theatre (Broadway - Etats-Unis)
Durée : 4 mois 1 semaine
Nombre : 25 previews - 153 représentations
Première Preview : 12 March 2010
Première: 04 April 2010
Dernière: 15 August 2010
Mise en scène : Stanley Tucci
Chorégraphie :
Producteur :
Star(s) :

Version 2

Lend Me a Tenor (2010-09-Theatre Royal-Plymouth)

Type de série: Original
Théâtre: Theatre Royal (Plymouth - Angleterre)
Durée : 1 semaine
Nombre :
Première Preview : 24 September 2010
Première: 24 September 2010
Dernière: 06 October 2010
Mise en scène : Ian Talbot
Chorégraphie : Randy Skinner
Producteur :
Star(s) :
Avec: Henry Saunders ... Matthew Kelly / Max ... Damian Humbley / Tito Merelli ... Michael Matus / Maria ... Sally Ann Triplett / Maggie ... Kelly Chinery / Diana Divane ... Sophie-Louise Dann / Anna ... Shirley Jameson, Jane Quinn, CJ Johnson

Version 3

Lend Me a Tenor (2011-06-Gielgud Theatre-London)

Type de série: Original London
Théâtre: Gielgud Theatre (Londres - Angleterre)

Durée : 1 mois 3 semaines
Nombre :
Première Preview : 02 June 2011
Première: 15 June 2011
Dernière: 06 August 2011
Mise en scène : Ian Talbot
Chorégraphie : Randy Skinner
Producteur :
Star(s) :
Avec: Matthew Kelly (Henry Saunders), Joanna Riding (Maria Marelli), Damian Humbley (Max), Michael Matus (Tito Merelli), Sophie-Louise Dann (Diana Divane), Cassidy Janson (Maggie Saunders), Gay Soper, Jane Quinn , Michelle Bishop will star as the 'Ladies of the Opera Guild', Jemma Alexander, Karen Aspinall, Natasha J. Barnes, Nick Butcher, Kelly Chinery, Sharon Eckman, Daniel Farrow, Andrew Keelan, Kara Lane, Connor McAllister, Haydn Oakley, Stephen Oliver-Webb, Ryan Pidgen, Jeremy Secomb, Emma Sewell, John Stacey, Robert Traynor, Michelle White.
Commentaires : The show originally had a try-out at the Theatre Royal Plymouth on September 24th 2010, and was re-worked for a West End production, previewing from June 2nd. It received very mixed notices (though the producers claimed they were “mostly wonderful”) with several critics pointing out that a musical farce is hard to achieve: farce requires break-neck action, while the songs and dances tend to slow things down. For some, the songs were too bland, and Ken Ludwig’s original hugely successful play had gained nothing by being turned into a musical. For others, it was a good-hearted show that had the audiences roaring with laughter.
However, business dropped, and although bookings were being taken until November 19th, the producers decided to cut their losses and close the production on August 6th.
Presse : "It’s all passably entertaining – if you’re prepared to accept this light-hearted and sometimes laboured mix of high art, high jinks and hokum for the fluff and nonsense it is. The songs – with flip, throwaway lines – are barely memorable, the dance sequences fine but infrequent and emotions are brought to the boil with all the sophistication of four-minute pasta."
Dominic Cavendish for The Daily Telegraph

"It gets by on period charm and one dazzling knockout number."
Michael Billington for The Guardian

"Polished but instantly forgettable musical...It skips along breezily without a single memorable tune or unforced rhyme."
Nick Curtis for The Evening Standard

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