Opera + farce = amusing ‘A Comedy of Tenors’ at Fla Rep

The cast of “A Comedy of Tenors.” The farce runs through March 3 at Florida Rep in downtown Fort Myers. RIGHT: Jeremy Sevelovitz, Bradley Dean and Jesse Corbin perform in Ken Ludwig’s “A Comedy of Tenors.” JOE DAFELDECKER / COURTESY PHOTOS

Somewhere near the beginning of Act II in “A Comedy of Tenors,” a character optimistically declares, “From this point on… nothing can go wrong.”

And the audience laughs.

Because up to that point, everything has gone wrong.

And we know things will continue to go from wrong to worse.

That’s the nature of a farce: It’s so delicious when things go wrong.

“A Comedy of Tenors,” playing at Florida Repertory Theatre (through March 3), is a story of dramatic Italians, prima donna opera singers, secret loves, a midlife crisis, and a show that must go on. It has plenty of slamming doors, mistaken identities, people chasing each other around a couch and emotions at fever pitch.

It’s silly craziness.

And it’s classic Ken Ludwig.

The play’s a sequel to his popular “Lend Me a Tenor.” You don’t need to be familiar with it to enjoy “A Comedy of Tenors,” but it will enhance the enjoyment: the return of familiar characters, the appearance of a bellhop.

Gregory North, Jeremy Sevelovitz, Bradley Dean and Jesse Corbin in “A Comedy of Tenors” at the Florida Rep.

Under the direction of Chris Clavelli, this ensemble of actors brings physical humor and absurdity to the show. But the production starts at high energy and volume, which unfortunately doesn’t give it anywhere to build.

Saunders (Gregory North) is particularly loud and shouty. He’s presenting a show in Paris to an audience of 30,000 — three opera singers. But his temperamental star, Tito (Bradley Dean), is late, his unseen Scandinavian tenor drops out, and the third tenor is his nebbish son-in-law, Max (Jeremy Sevelovitz).

Tito’s having a mid-life crisis, fearing he’s a has-been, and his wife, Maria (Carine Montbertrand), just wants him to grow up. Their daughter, Mimi (Haley Sweat), is in love with the muscle-bound Carlo (Jesse Corbin), but she’s been hiding their relationship from her parents.

Misunderstanding builds upon misunderstanding.

When Tito suddenly disappears just mere hours before the concert, Saunders finds a singing bellhop, Beppo, also played by Dean. Beppo looks exactly like Tito, but has a moustache. Although they could pass for identical twins, Beppo is affable, childlike, in awe of his good fortune — the complete opposite of the narcissistic Tito. It’s great to watch Dean in both roles, the way his physicality changes from character to character. His Beppo has a wonderful Kramer-esque quality.

(Florida Rep was smart to cast this very talented Broadway actor, as he originated the role nine years ago.)

Corbin’s Carlo is dim-witted but kind; he and Mimi are a perfect match.

But it’s Montbertrand who threatens to steal the show as Tito’s spitfire wife. Tito gets laughs throwing himself on the floor and curling up in the fetal position on the couch, but Maria got some of the biggest laughs of the evening as she seduces her husband and contorts her body into some yoga-like shapes. The physical humor of this onstage couple is superlative.

Nancy Stetson

Florida Rep favorite Jackie Schram shows up in Act II as the Russian opera diva Racon and spices things up considerably. You almost expect her to have a whip or riding crop in hand.

And what would a farce be without sexual innuendo, bedroom shenanigans and flings?

This show, after all, begins with the discovery of a pair of panties and a garter belt in a hotel suite.

Because this is a farce about opera singers, there are plenty of opera references and inside jokes, and even some singing. Dean, Corbin and Sevelovitz sing some opera together and are impressive. If you love opera, you’ll enjoy it. If you don’t, you might wonder what all this opera singing is doing in the middle of a farce.

Set designer Dennis C. Maulden has created a very symmetrical hotel room with three crystal chandeliers overhead. The doors slam with satisfying loudness, but nothing about the room or its balcony view says “Paris.” And I was confused by the brick wall stage right. Is that inside the room? A bad view from another balcony?

Stefanie Genda has costumed the characters in 1930s clothing. I particularly liked Max’s clashing plaid pants and striped vest, and Maria’s purple suit with orange hat and what looks like an orange Bakelite purse. Dressing the stage crew in bellhop uniforms was also a clever touch.

Some of the lines are obvious, but Ludwig wrote some great ones the audience seemed to miss on opening night: “You’re not a man at all, you’re a tenor!” And my favorite, Beppo’s description of a piece from an opera, spoken with childlike wonder: “They sing very softly at the top of their lungs.”

Ludwig’s also penned some very funny lines about Akron, Ohio, and given one character a life-affirming little speech which is a balm to the soul. There’s also some creative food humor.

Don’t try to make sense of it all, just go with it. And remember that in farces, the first act sets up all the craziness that occurs in Act II.

And don’t rush for the doors: the last two minutes of this farce — a creatively choreographed curtain call — are some of its best. ¦

In the KNOW

‘A Comedy of Tenors’

· When: through March 3

· Where: Florida Repertory Theatre, Bay Street between Jackson and Hendry, downtown Fort Myers

· Cost: $65

· Information: 239-332-4488 or www.FloridaRep.org