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'Lend Me A Tenor' silly, but farce with heart

Frothy as meringue and with all the depth of low tide on a sandbar, “Lend Me a Tenor” is pure, escapist fun. But midway through the first act of ridiculousness that defines Ken Ludwig's featherweight comedy, something utterly unexpected and wholly wonderful happens: a gorgeous duet between two tenors. For a few long, lovely bars, Brian D. Simmons and Brian McCartney deliver a love song that transcends the escalating silliness.

It's one of several moments when Simmons' superior pipes help make “Lend Me a Tenor” greater than the sum of its preposterous parts. Those who saw the actor's inspired turn in the title role of “Jerry Springer: The Opera” (yes, there is an opera about Jerry Springer) know he's no slouch in the vocal department. With “Lend Me a Tenor,” he goes to the opposite end of the character spectrum to portray an anti-Springer: Max is a sweet, stammering romantic. Bullied by his boss and taken for granted by his girlfriend, he is also the rock-solid emotional center of the piece, and an unlikely hero you start rooting for as soon as he makes his first beleaguered entrance. Minus Max, the show is simply slamming doors and sexual hijinx. Which isn't to say “Tenor” isn't on overload when it comes to those must-have elements of farce.

You know what you're in for when the curtain goes up on Mike Gehmlich's art-deco themed hotel suite. There are no less than eight doors — each one ready for someone (preferably a winsome young ingenue or a bombshell diva) to hide behind and/or pop out from at just the wrong moment. Set in 1934, the story involves Il Stupendo, aka Tito Merelli (McCartney) a superstar tenor who makes Pavarotti look low maintenance. A mix-up involving Phenobarbital-laced martinis (do not try this at home), and Il Stupendo has become Il Stupido. With the financial fate of the Cleveland Opera resting on Merelli performing in “Otello,” it's up to Max to save the day by impersonating the great tenor. Fat suits, aggressively bad wigs, scantily clad opera groupies and much wackiness ensue.

Director Robin Hughes keeps the pace zipping, although Ludwig's play would be far more effective minus 20 minutes off the back end. The height of confusion — mistaken identities, groaning double-entendres and broad-as-a-double-wide mugging — goes on just long enough to wear out its welcome. Other problem-ettes: (The pre-comatose) Morelli's Italian accent kept sipping into something akin to Brooklyn-ese the night we attended, although we suspect that will cease as the run continues.

There's great fun Lauren Creel as an ingenue longing for a fling, and Michelle Weissgerber as a diva-Desdemona who rocks a Merry Widow as well Verdi's arias. Throughout, Hughes does a fine job balancing the outrageous with the relatable. The result? A farce with a heart.

“Lend Me a Tenor” through April 19 at Metropolis Performing Arts Centre, 111 Campbell St., Arlington Heights. $26-$42. (847) 577-2121 or www.metropolisarts.com.