By Eva Trieger in San Diego
Scripps Ranch Theatre is bringing us the best of all worlds with its current production of Lend Me a Soprano. Combining a farcical script by Ken Ludwig, clever direction by Kate Rose Reynolds and a marvelous cast of trained opera singers including Leigh Akin promises delightful chaos.
Flipping gender perspectives, Ludwig switched up his previous play, Lend Me a Tenor, to tell the story of The Cleveland Grand Opera and their one-night production of Carmen. Lucille Wiley (Wendy Waddell), manager of the company, is elated to welcome the arrival of opera diva of global renown, Elena Firenzi (Britania Cortez).
As luck would have it, Firenzi faints, so in her stead Wiley sends in her loyal assistant, Jo (Leigh Akin). Will the audience be taken in by this ruse? The year is 1934, so AI cannot be employed to pull off such a stunt.
Eager to know if the rewrite merely substituted female roles for the males, Director Kate Rose Reynolds told me that the rewrite had been thorough. “Some things didn’t ring true….during the era women were fighting gender norms of their time.” Reynolds also pointed out that unique to this play, women support each other and develop a sense of camaraderie that wasn’t evident in Lend Me a Tenor. Julia (Bobbi Randall) and the bellhop (Hayden St. Clair) support the other characters, playfully.
Lest you think this a female-only cast, the production also features Pasquale (Durwood Murray), the jealous husband of Elena; Jerry (Dennis Peters); and Leo (Marcel Ferrin). Each of these actors has appeared on multiple stages all over San Diego and beyond. Peters, you may recall, starred in a fabulous one-man show, Fully Committed.
I asked Reynolds if Scripps Ranch Theatre’s production of this show required any adaptations or presented any challenges for the set. I was told that Dixon Fish, who also designed the brilliant set for Mary’s Wedding, created two rooms in a grand hotel, replete with all of the six doors, necessary for any farce worth its weight. Additionally with huge operatic voices, it required deliberate effort to make them fit into the space.
And speaking of the genre, Reynolds explained that a farce requires great precision. It’s fast paced and the stories generally take us on a crazy roller coaster ride, which is why timing is critical. The characters are experiencing what just may be the worst days of their lives, and they are reacting in ways that exhibit their “desperation” that you don’t see in other comedies.
As mentioned, many of the actors in this show are California natives, but one of the leading ladies is originally a Midwesterner. Leigh Akin grew up in Milwaukee, where she had the good fortune of attending a public school that recognized and nurtured her creative and artistic side. As a six-year old, Akin performed in the play, Who Pushed Humpty? Of the four suspects, Akin was Mary Quite Contrary. The guilty party required the memorization of a final monologue. It was fortunate that her character was never chosen as the culprit, because the actor/singer confessed she never learned those particular lines.
The Music major went on to pursue her dreams, post-graduation with the support of her family. Thinking New York City was the key to her future, Akin spent five years giving it a go. After realizing that skyhigh rents and the need to work two jobs was not furthering her career, Akin grew doubtful. Though she did manage a touring show and found work with some opera companies, her break finally came about. A broken leg, that is. Akin was unable to work, and she knew her NYC days were numbered.
An aunt in San Diego offered to take in the convalescing singer, and after healing, Akin found a new home in the San Diego arts community. When asked if the atmosphere of the California scene differed from New York, I was told, “San Diego is full of people who trust one another. They were willing to take a chance on me.” Akin helped out at the Fringe Festival and made contacts that would spiral into the most important relationships.
California Center for the Arts became a new home for Akin and she took over the programming for community events. This gave her access and input into the Youth theatre, International Acts and a summer concert series. Her duties expanded to planning for the Fourth of July, Dios de los Muertos and Winter Wonderland. Hopefully, this role allows Akin to draw on her illustration and graphic design capabilities.
About seven years ago, Akin met and co-directed a show with Kate Rose Reynolds at the Loud Fridge Theatre Co. The two connected, and Reynolds is thrilled to have the opera star in her amazing cast for Lend Me A Soprano.
Akin shared that she believes the character of Jo demonstrates that healthy female relationships can exist between women. This role resonated with her as Jo is plucky, optimistic and willing to take on a challenge. She stated that theatre has a twofold job. First, it’s a chance for us to be part of a community; it brings folks together. Secondly, theatre allows us the opportunity to see humanity through another’s lens.
Scripps Ranch Theatre’s timing is perfect. Who can’t use a clever farce to take our minds off of the chaos in our daily lives? A fast-paced, laughter-laced show sounds like just the remedy.
Lend Me a Soprano runs April 23-May 17. Tickets may be purchased online at https://scrippsranchtheatre.org/showtickets/ or by phone at 858-395-0573.
*
Eva Trieger is a freelancer specializing in the coverage of the arts.