Lend Me a Tenor (Acting Edition) [Paperback]

Ken Ludwig (Author)

Product Details

• Paperback: 88 pages
• Publisher: Samuel French Ltd (November 1986)
• Language: English
• ISBN-10: 0573016402
• ISBN-13: 978-0573016400
• Product Dimensions: 8.3 x 5.4 x 0.3 inches
• Shipping Weight: 3.5 ounces
• Average Customer Review: 4.7 out of 5 stars  See all reviews (10 customer reviews)
• Amazon Best Sellers Rank: #1,027,188 in Books (See Top 100 in Books)

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Customer Reviews

Most Helpful Customer Reviews

18 of 18 people found the following review helpful:

5.0 out of 5 stars Wonderful and witty, January 4, 2001

By A Customer

This review is from: Lend Me a Tenor (Acting Edition) (Paperback)

My high school, which has an amazing theatre program, did this play in my freshman year. The play is fast-paced and hilarious. The story is about an opera house in Cleveland, Ohio, where the world-famous Italian tenor Tito Merelli is expected to come perform. The play opens with Max, a somewhat pathetic man in his thrities, who works at the opera house, and his girlfriend, Maggie. Max wants to marry Maggie, but she, a dreamy girl (and huge fan of Tito Merelli), wants "more experience" before she settles down. Saunders, Maggie's uncle and Max's boss, enters in a panic because the famous tenor is late. Tito finally arrives on the scene with his wife, the busty, proud, sophia loren type (who was not expected),fighting with her as they usually are. Tito is accidentally drugged before his show when he takes too many relaxation pills, and is mistaken for dead. Panicking, Saunders and Max try to think of how to cover up the "death," at least until the morning after the show. Max, an aspiring opera singer with no one who has faith in him, steps in and takes Tito's part of Othello. Meanwhile, Tito wakes up...and, as the saying goes, "Pandemonium ensues." Other characters include Julia, an older woman, dramatic, the chairman of the opera guild; Diana, a sexy soprano; and a bell boy, who has his share of funny lines (all of these people, of course, great fans of Tito Merelli). In the end, everyone finds love and contentment. The play ends with a hilarious 45-second replay of the whole play, where the actors dash around frantically, gesticulating wildly and re-enacting all the scenes. A must-read, but it's really a play that you have to SEE. So if you get a chance, please do.

4 of 4 people found the following review helpful:

3.0 out of 5 stars Mediocre and average., July 7, 2005

By 

MAB (USA) - See all my reviews

This review is from: Lend Me a Tenor (Acting Edition) (Paperback)

"Lend me a tenor" is the second play I've read by playwright Ken Ludwig, the first being "Moon Over Buffalo." I've concluded that Ludwig's plays are best performed, rather than just read. He includes much action and physical stage direction that cannot be fully appreciated when being read in bed or while sitting on the sofa. A lot of it is silent acting, with movement and facial expressions. The beginning was very witty and funny (reminding me of Neil Simon), but as the play read on, it became drawn out and overdone. After the mistaken identities and confusion, I expected the ending to be a "big bang," but after the climax, it lost steam. But, maybe when seen on the stage, it is fine. For it's readability factor, I "sorta" recommend.

3 of 3 people found the following review helpful:

5.0 out of 5 stars An Operatic Comedy, June 15, 2004

By A Customer

This review is from: Lend Me a Tenor (Acting Edition) (Paperback)

I read LEND ME A TENOR and soon afterward saw in onstage. Ken Ludwig (who also wrote MOON OVER BUFFALO and the libretto for the hit musical CRAZY FOR YOU) creates a madcap comedy that cleverly incorporates Italian opera into the action. The setting is Cleveland in the 1930's. The city's Grand Opera Company is presenting Giuseppe Verdi's OTELLO, to star world-famous Italian tenor "Tito Merelli." Max, a young novice tenor who works for the company's cantankerous manager, Mr. Saunders, himself dreams of singing the title role. After Tito arrives in Cleveland, he gives Max a singing lesson and the two quickly become friends. But when Tito's wife leaves him suddenly, he becomes distraught and drugged, and it is up to Max to save the performance!
While TENOR is a laugh a minute, it is more than a farce. The friendship that quickly develops between Max and Tito is very touching. (For those of you who are wondering, the duet from Verdi's DON CARLO that they sing together in Act I is also known as the "friendship duet.") In addition, Max is a multi-dimensional character: much more than just a "wimp," he WANTS to sing in public, but his nervousness and fear hold him back. What he needs is confidence, and this is what he finally gains. Though TENOR is Max's story, the other characters are just as clearly delineated with funny dialogue and stage business. In my opinion, TENOR ranks with Larry Shue's THE FOREIGNER as one of the finest comedies written during the 1980's.