Olney's 'Soprano' is a scream!

Carolann M. Sanita and Tom Patterson in Lend Me A Soprano at Olney Theatre Center/Teresa Castracane 

It's that good, that charming, that delightful! 

As my friend Sheila says:  "I don't want 'preachy' at the theater; just give me fun."  This, Sheila, is fun. 

From left, Rachel Felstein and Carolann M. Sanita in Lend Me A Soprano at Olney Theatre Center/Teresa Castracane 

Upon my arrival at the Olney Theatre Center and from the moment I spied the luxurious set, I was happy to have a few moments to sit and swoon a bit with no action on the stage, enthralled by the opulence, the exaggeration, to admire and take it all in, and catch my breath. 

A set which was fit for royalty with the chair rail, the arched doorways, chandeliers, the French provincial look of gay Paree, the view outside the windows, and the vases (pronounced vaaa-sis, darhling) overflowing with flowers, a heavenly contrast for my eyes fixated on the gray drabness of winter on my way to the Olney, awaiting spring and here it was!

"The rich are different from you and me." 

Say it again, Scott, but enough about Andrew Cohen's set, already!

From left, Tina Stafford, Rachel Felstein, Dylan Arredondo, and Carolann M. Sanita in Lend Me A Soprano at Olney Theatre Center/Teresa Castracane 

I loved, loved, loved Lend Me A Soprano! Hilarious and with the acting, the costumes, the plot, combined, it's absolutely smashing. 

Hometown playwright Ken Ludwig has done it again, written another fantastic play, this farce based on his successful Lend Me A Tenor, which won two of nine or ten Tony Award nominations (depending upon which Wikipedia site you read), and opening in London in 1986 three years before it reached Broadway. 

Tenor has been translated into 16 languages and has run in 25 countries, and it's not necessary to know a Tenor to enjoy a Soprano.

Soprano is a delightful escape with Shakespeare thrown in (both playwright and director are Shakespeare scholars, but don't let that keep you away), mistaken identities, doors opening, closing, mismatched persons, and the list goes on.  (Shakespeare knowledge is not required for pure enjoyment.)

Lucille Wylie (Tina Stafford), is a strong, domineering woman who's also the Cleveland Grand Opera's manager and absolutely beside herself with worry that the diva hired to sing the title role in Carmen for a "one night stand" will not show up. 

The time is 1934.  

Suddenly, there's commotion and ... boom!  

Enter, please, the diva Elena (Carolyann M. Sanita) and her perfectly stereotypical husband, Pasquale (Dylan Arrendondo), a big, robust fellow with a voice to match. 

Like the fiery Italians they are with passions inflamed, their ardor knows no bounds, and they continue their argument upon landing, surprise!

Elena becomes "incapacitated," unable to perform, and who's this?

Jo (Rachel Felstein) is Mrs. Wylie's assistant, an "understudy" who comes to the rescue and away we go.

Not only are we treated to hysterics, but beautiful singing, including duets by Ms. Felstein and Ms. Sanita (and how I wished for more! Musical direction is by Christopher Youstra).

In and out of bed(s) and couches they roll and one of the most hilarious characters is "Leo" (Tom Patterson), who struts his talents (in several ways), gathering more likes with every appearance as his apparel takes off (?). 

He is Jo's boyfriend, but wait, that is Jerry (skillfully acted by understudy Ben Topa when I saw Soprano), so maybe Leo belongs to Elena when her husband is "away"?

Sweet "Julia" (Donna Migliaccio) is the opera guild president, who makes a late arrival on set to temper things, dressed in a beautiful gown with a crown on top, reminiscent of New York's Chrysler Building.

Meanwhile, the impish, mischievous bellhop (Natalya Lynette Rathnam) pops in every so often, producing more audience laughter whenever she's on stage.

Soprano debuted worldwide in Houston in 2022 with the same Olney director, Eleanor Holdridge, and aren't we lucky to have her experience? ("Practice makes perfect"! She's also "local," chair of the Catholic University's drama department.)

Chandelier lights (by Alberto Segarra) dim and glow, depending upon who is where.  And the costumes!  Oh, la, la!  Sarah Cubbage has made them more than adequate for a Met gala, gowns, resplendent in exquisite designs. Larry Peterson was wig designer. 

Other members of the creative team are Ashara Crutchfield, assistant director; Matt Rowe, sound designer, and Ben Walsh, stage manager.  

Also, Robb Hunter, fight choreographer; Helen Aberger, intimacy choreographer; Melissa Flaim, dialect consultant; and Tori Niemiec, assistant costume designer.

At the end, Mr. Topa received special recognition from the cast while the rest of us wildly applauded the entire cast and team for a  marvelous show.    

What: Lend Me A Soprano

When: Now through Mar.10, 2024, at 7:30 p.m. Saturday and Sunday matinees at 1:30 p.m.

Where: Main Stage, Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832.

Tickets: Start at $40 with discounts for seniors, students, military, and groups.

Ages: PG-13 

Refreshments available.

Parking: Free, lighted and plentiful on-site

Duration: About two hours with one 15-minute intermission

For more information: 301-924-3400 for the box office or 301-924-4485

patricialesli@gmail.com