Review: A Comedy Of Tenors Is A Riot Of Operatic Chaos

★★★★½

False accusations and mistaken identities run rife in Ken Ludwig’s A Comedy of Tenors at the Arts Theatre in Adelaide.

Therry Theatre has assembled an exceptional ensemble of performers for this hilarious farce. As the sequel to Lend Me a Tenor and the gender swapped Lend Me A Soprano, A Comedy of Tenors continues Ludwig’s affection for operatic chaos. I thoroughly enjoyed his playwriting when I saw Lend Me A Soprano earlier this year.

Whisked away to 1936 Paris, the action unfolds in the Faubourg Ritz Hotel. The twin-bedroom penthouse suite promises romantic rendezvous, slamming doors, and plenty of hiding places. The lavish Art Deco design is by Kristian Kidd with Steve Kidd, with a construction team led by Brian Voigt.

The set features a chandelier, starburst light fittings, and carefully chosen details. The paintings and décor clearly reflect the loving care that has gone into the production.

Comic timing is expertly captured by director Kerrin White. Physical comedy abounds through dramatic thrusts, leaps, falls, and frantic movement. The action flows swiftly around the hotel room, ensuring the momentum never falters. Jokes land with slick timing from sound designer Sean Smith and stage manager Jo Pankhurst.

When famed tenor Jussi Björling cancels his appearance in an upcoming concert featuring three tenors, inevitable chaos ensues. I could not help feeling disappointed at the mention of his cancellation, as Björling possessed, in my humble opinion, one of the greatest tenor voices of all time. Perhaps Ludwig would agree.

The cast deserves every bit of the applause they receive Photo by Andrew Trimmings

Steve Kidd OAM is perfectly unlikeable as producer Henry Saunders. Insults flow from him as naturally as breathing, making him a delightfully exasperating character to watch.

The star of the show is Ben Todd in the double role of opera legend Tito Merelli and Beppo. One is a fiery, past-his-prime tenor, the other a lovable, talkative, happy-go-lucky Venetian bellboy with an unexpected gift for singing.

Todd’s exaggerated Italian mannerisms are a joy to watch. He must certainly get his steps up, racing backstage for costume changes while making it all appear effortless. His performance is a marathon he embodies with ease. I am a fan of Todd’s remarkable ability to devour comic roles for breakfast.

Matching him in Italian passion is Hayley McGill as Maria Merelli. She stands her ground as the misunderstood wife, embraces the production’s cheekier humour, and demonstrates exactly how to command a scene.

The women continue the theme of seduction with Chanelle La Roux as Tatiana Racon. Whether perched on an armchair with one leg dramatically extended, throwing herself across a couch, or draping herself over a door, La Roux fully commits to the melodrama demanded of this Russian opera diva.

The young lovers, Mimi Merelli and Carlo Nucci, are played by Amelia Baldock and Parisya Mosel. Baldock brings starry-eyed enthusiasm to the aspiring actress, filling the role with squeals, optimism, and youthful energy.

Physical comedy abounds through dramatic thrusts leaps falls and frantic movement Photo by Andrew Trimmings

Mosel is an absolute gentleman as the talented American tenor and romantic interest. He remains the most grounded character in the show, gamely enduring the chaos around him. We see the poor man caught with his pants down, strangled, and thoroughly bewildered by the antics of the Merelli family.

Adam Schultz rounds out the trio of tenors as the overlooked and under-appreciated Max Garber. His anxious, downtrodden demeanour makes him an endearing presence throughout the show.

A play about opera singers must, of course, include some opera. I understand the production had originally planned to lip-sync but, to their surprise, this did not eventuate. You can imagine the cast’s reaction when they were informed they would instead be singing the boisterous ‘Libiamo ne’ lieti calici’ from La Traviata.

Thankfully, the cast are all singers. Opera tenors they may not be, but they hold a tune admirably. I particularly commend their Italian pronunciation. Ben Todd, in particular, delivers some beautiful vocal moments as Beppo.

Just when you think the cast have earned their final bow, Ludwig throws one last challenge their way. Following the playwright’s directions, they race through a rapid-fire recap of the entire play. The audience claps along as the performers revisit the evening’s rollercoaster of a plot.

It is an impressive feat of timing, stamina, and concentration, and the cast deserves every bit of the applause they receive. Don’t miss the joyous celebration of farce that is A Comedy of Tenors!

A Comedy of Tenors is presented by Therry Theatre and runs to 7 November 2026 at the Arts Theatre. 53 Angas Street Adelaide SA 5000.

Tickets: https://www.trybooking.com/au/event/1506960

Website: https://therry.org.au/

Socials: https://www.instagram.com/therrytheatre/