Lend Me A Tenor by Ken Ludwig; Bermuda Musical & Dramatic Society; Directed: Kelvin Hastings-Smith; Daylesford Theatre, Thursday, September 16, 2004

THERE are no good lines, just good timing. Opening night for Lend Me a Tenor at the Daylesford Theatre was an object lesson in the reality of this simple theatrical maxim. The first half of the performance was uncertain and inconsistent in tempo as speed rather than pace seemed to guide the actors' performances. As, the cast relaxed into their roles, however, the uncertainly lessened and the audience settled to enjoy the evening.

The play revolves around a series of confusions occasioned by the arrival and subsequent indisposition of Tito Morelli, Il Stupendo, a world famous tenor played by Shawn Angiers.

In the style of all farces, there are numerous mistaken identities, much rushing into and out of cupboards, bathrooms and bedrooms and a happy resolution as boy gets girl.

Matthew Nester, who assumed the role of Max at very short notice following the indisposition of Stephen Notman who was originally cast in the role, was convincingly uncertain if a little wooden in his manner.

The part of the aspiring opera singer must pose a challenge and Mr. Nester is to be congratulated on his capacity to sing, albeit not operatically, but with sufficient confidence and presence to lead one to believe that, given the opportunity that results from Il Stupendo's indisposition, Max might just carry it off.

Brian Webb, playing the role of Saunders, general manager of the Cleveland Opera Company, was suitably manic in his portrayal as events spiralled beyond his control.

His manner had all the panache and energy required for the part, but, from the outset, Mr. Webb seemed intent upon setting a driving pace which all but overcame him and which resulted in inconsistencies in delivery and dislocations of timing with his fellow actors. His control in the second half of the performance was more assured and it was then that we saw his style and capacity to real effect.

Marie Hans Kromer was quite delightful in her portrayal of Saunders' daughter and Max's girlfriend, Maggie. Her desire to experience "something wonderful and romantic" and her subsequent "fling" with the individual whom she supposes to be "Il Stupendo", but who is in fact Max himself, was both engaging and amusing.

Jo Shane, delivered a memorable cameo performance as Maria, Il Stupendo's volatile but long-suffering wife, Maria. Her all-too-brief appearances were characterised by an entirely convincing Italian accent and a control and a theatrical pacing that left one wishing that we could have seen more of her.

Her husband, the world famous Tito Morelli was played by Shawn Angiers. Physically, Mr. Angiers was every inch an "Il Stupendo". There were opportunities in the early part of the play for him to have established more of the grand manner of the tenor but his bewilderment and confusion in the second half of the action was comically effective.

Described in the script as, "sexy in a smouldering sort of way", Diana, a soprano, was played by Jeanne Butterfield. There was rather more of Mae West in this portrayal however and one was never entirely convinced by Ms Butterfield. A difficulty with her costume in her advances toward Mr. Morelli, one not dissimilar to that suffered by Janet Jackson in her Super Bowl performance, left both audience and actors almost helpless with laughter. Ms. Butterfield carried the moment with considerable aplomb, however, and she was rewarded with a warm round of applause.

Susanne Notman in the part of Julia, chairman of the Opera Guild was entirely the grand dame. Her delivery was assured and she certainly presence and the control. There was an opportunity perhaps for a more 'theatrical' persona; this would have given additional balance to the performances of those with whom she interacted.

Paul Harney's playing of the The Bellhop was rather too "large" in style and delivery. This resulted in his missing opportunities to deliver his lines as effectively as he might relying as he did rather more upon physical and facial "acting".

A little more restraint would have produced a more balanced performance that would have worked more comfortably with others on the stage.

The staging of the piece was most effective; costuming for the production was suitably evocative of the period setting of the play; action flowed easily between the elements of the set and space was used to good effect by the cast throughout.

This is a directorial debut for Kelvin Hastings-Smith and, though this is by no means a great piece, the production works. The technical issues of pacing, delivery and balance are assuredly elements to which he will return with his cast as the run proceeds and audiences will no doubt enjoy an evening of diverting if undemanding theatre.