At Scripps Ranch Theatre, “Lend Me a Soprano” is a fizzy, featherweight farce that knows exactly what it wants to be: big personalities, bigger misunderstandings, and just enough chaos to keep the doors slamming. The more you meet it on its own delightfully ridiculous terms, the more fun you’re likely to have.
It’s 1934, and all Cleveland Grand Opera Company general manager Lucille Wylie (Wendy Waddell) wants is one smooth, glamorous gala performance. Instead, the star soprano, Elena Firenzi (Britania Cortez), arrives late and brings with her a jealous husband (Durwood Murray), a fondness for liquor, and a tendency toward chaos. Lucille enlists her mild-mannered assistant Jo (Leigh Akin) to keep Elena under control—essentially babysitting her in a lavish hotel suite—but things go spectacularly off the rails when Jo’s attempt to “calm” Elena with a slightly overzealous martini results in an apparent overdose.
So, of course, the solution is: put Jo in a wig and shove her onstage.
What follows is a rapid-fire spiral of disguises, near-misses, and mistaken identities. The real Elena wakes up and heads to the theater, while Jo tries to pass as her. Meanwhile, Jo’s boyfriend Jerry (Dennis Peters), opera guild chairwoman Julia (Bobbi Randall), an adoringly enthusiastic bellhop (Hayden St. Clair), and a very eager tenor (Marcel Andre Ferrin) all desperately want a moment with the diva. Add in doors that apparently refuse to stay locked, and you’ve got full-blown theatrical mayhem.
Directed by Kate Rose Reynolds, the production keeps all these spinning plates impressively clear. Along with Intimacy Director Kandace Crystal and Fight Choreographer Jacob Bruce, they bring all of these hijinks to life clearly (and safely) onstage for all to enjoy.
The cast, however, is game across the board. Leigh Akin’s Jo brings a grounded sincerity that makes her increasingly absurd predicament land, and her dynamic with Britania Cortez’s Elena is a highlight—especially in a charming musical moment that reminds you this is an opera world, after all. The singing throughout is genuinely lovely, adding an extra layer of polish. Wendy Waddell is a comedic force as Lucille, bulldozing through every obstacle with sheer willpower and impeccable timing. Hayden St. Clair’s bellhop is bright and personable, popping in with delightful bursts of energy, while the supporting cast leans fully into the heightened style.
Design-wise, Dixon Fish’s scenic work delivers exactly what the genre demands: a cute, cleverly arranged hotel suite with, and this is crucial, a wide variety of doors that are impervious to staying locked. Entrances, exits, and narrowly missed encounters are the lifeblood of farce, and this set understands the assignment. Costumes by Heather Nunn and wigs and make-up by Christy Terrill Reid, are all lovely and evoke the time period and the opera nicely.
The main hurdle for some may be the script itself. While the gender-swapped premise suggests a fresh perspective, the underlying story beats feel stubbornly dated. The plot is easy to follow—but due to all of the setup in the first act, the show doesn’t hit its full energy until the second act. The central romantic arc, in particular, doesn’t quite hold up under scrutiny, and made me want to tell Jo to find a new man.
Still, the audience around me was laughing—a lot. And that’s the thing about farce: it’s less about airtight storytelling and more about timing, energy, and whether you’re willing to go along for the ride. If you’re in the mood for something light, silly, and just a little bit chaotic with a musical flair, “Lend Me a Soprano” won’t disappoint.
How To Get Tickets
“Lend Me a Soprano” is playing at Scripps Ranch Theatre through May 17th. For ticket and showtime information, go to www.scrippsranchtheatre.org
Photo Credit: Scripps Ranch Theatre
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