The main performers here make the production memorable. Caplin is low-key but charming as a Tito we want to get away with whatever he can. As Max, Saunders is best in the second half, when the character can relax from his Act One hyperactivity. Dion is a winsome ingenue as Maggie, and in what should be an incidental role, Fusco is captivatingly droll as the operatically pretentious board member — it's tough to play someone overacting without overacting. And Curley is terrific as the jealous Italian wife, exploding and slowly simmering in countless modulations.

Thanks, by the way, to Kathryn Kawecki for her opulent scenic design, heavy on the burgundy and wood, as well as to Amanda Downing-Carney for matching fancy period costumes.

The play premiered in 1986 and somehow it's taken until this year for a musical version to arrive. All the tonsil-trembling enthusiasm on stage would make that a natural. Unfortunately, despite good notices, sales were poor on London's West End, so it closed. A shame. But since you can check out some of the songs on YouTube, all is not lost. As Lend Me a Tenor teaches us, it's never too late to keep trying.

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Related: Trinity's Absurd Person Singular, Review: 2nd Story's darkly funny Kimberly Akimbo, Trinity's rollicking Absurd Person Singular, More more >
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