Opening night for Hofstra University’s drama department’s production of “Lend Me A Soprano,” an adaptation of “Lend Me A Tenor,” had the audience belly laughing for nearly the entire performance. This 1930’s farce invited viewers to forget their day-to-day lives and settle in for a rollercoaster of a performance. This slapstick comedy did not hold back, nor did the actors.
Junior theater arts major Audrey Pratt played Lucille Wylie, the manager of an opera company putting on the French opera, “Carmen.” In the play, Mrs. Wylie attempts to coordinate Italian opera star Elena Firenzi’s (Bree Lily-Rose Kuliga) one-night-only performance as the lead soprano. Many of the characters spend the duration of the story perpetually stressed out, namely Jo (Sydney Barnas), Mrs. Wylie and Elena.
True to a farce, and consistent with many of Shakespeare’s comedies, “Lend Me A Soprano” features mistaken identities, outrageous comedy and seemingly innocent innuendos sprinkled throughout.
While Mrs. Wylie’s assistant Jo attempts to keep the show together and maintain some semblance of normalcy, it becomes difficult when she is forced to step up and play the opera’s title role after Firenzi is nowhere to be found. This tale of twisted fates and over-the-top shenanigans will worm its way into any viewer’s heart.
The messy relationships between the characters are engaging, especially when guessing who will end up with whom. Elena’s sensual Italian soprano foils Jo’s mousy, relatable brunette.
Their unexpected friendship fosters the idea that women can be comrades instead of competitors. Firenzi may have the big name and sensuality, but she is also kind. Jo may begin the show as frazzled and meek, but by the end, she learns that she is also talented and capable.
The physical comedy performed by Sam Chetkin as Leo, Jackson Parker as Jerry and Nick Profito as Pasquale added life to this already lively show. The over-the-top nature of these characters is reflected in the production’s lighting and sound design. Lighting coordinator Brian Canese used effects that amplified moments, such as the fireworks during the kiss Jo and Jerry share. Sound designer Rychard Curtiss included the classic sounds of fireworks shooting off and popping. The kiss was a passionate, hands-in-hair, smudged lipstick kind of kiss – the kind Jerry had been dreaming of.
Profito’s performance was stellar. He captured the aura of the overly passionate, chronically jealous Italian man always worrying about his wife’s fidelity. Spectators doubled over in laughter nearly every time he opened his mouth.
The suits worn by these men each presented their personality on a platter. The most notable moment of this is when Leo, Chetkin’s character, in a hurry to dress, forgets his shirt. He buttons his suit jacket over nothing but skin, then acts completely natural, failing to notice this important article of clothing is missing. Profito uses his off-the-shoulder cape to dramatize his already dramatic movement. Parker spends most of the show in a proper tuxedo with tails, then undresses when given the opportunity to sleep with his hall-pass celebrity crush, Elena Firenzi. The contrast between his buttoned-up look and the undershirt and underwear combo is quite comical, especially when the audience knows the person he is sleeping with is not Firenzi, but Jo, his longtime girlfriend, dressed as Firenzi.
For much of the show, the two identically clad women run around, causing mistaken identities and problematic romantic entanglements.
The set was expansive and included beautiful paintings that are reminiscent of Mary Cassat, a French impressionist. The set also featured ornate woodwork by sophomore drama production major Maggie Dippel.
This production was a success, as laughter and love filled the Joan and Donald Schaeffer Black Box Theater in Joseph G. Shapiro Family Hall.
