“LEND ME A TENOR”

Featuring words by Ken Ludwig

Directed by Louis R. Petrucci
Stage Managed by Sara Bates

Sunday, February 22 and Monday, February 23 2026

7pm at Independence Community Theater

While we encourage interested actors to sign up, you are also welcome to walk-in for either the 7:00 group or 8:00 group auditions either night.

Sides will be provided to read from at auditions, no monologue prep necessary.

Callbacks, if necessary, will be Wednesday, February 25

Rehearsals will start Monday, March 9 and will be Monday, Tuesday and Wednesday evenings. Additional rehearsals may be added in mid-April to Sunday or Thursday evenings (whichever better fits for the cast's schedule, and only if necessary) to facilitate prep for tech and opening.

Show runs May 1–16, 2026

All roles available, NO pre-casting.

Please Note: Parties interested in the roles of Max or Tito will need vocal experience, as while this is not a musical there are a few moments of operatic singing that are required of both actors. While we will not be looking at this element at auditions, please note we may ask folks called back for these roles to prepare a song (of their choice) at callbacks that displays this capability.

Please Also Note: Actor comfortability is important to us. 'Lend Me a Tenor' is not only a comedy of errors but a romantic comedy as well, with moments of physical contact between actors and moments of scantily-clad implications (no nudity involved!), especially where the characters of Max, Tito, Maggie, and Diana are concerned (and to a degree, even Julia too, but much lesser). Please be aware of that, if cast in these roles, we will do our utmost to ensure all parties feel safe, secure, and respected in what we ask of them.

SYNOPSIS

Set against the backdrop of a bustling Cleveland Grand Opera Company in September 1934, "Lend Me a Tenor" by Ken Ludwig is a riotous comedy that follows the chaos surrounding the arrival of world-renowned tenor Tito Morelli. Morelli is poised to deliver a stunning performance of Il Pagliacci at the season opener, but his tardiness leads to a series of uproarious misunderstandings and mistaken identities. When ambitions collide with the unpredictable nature of live performance makes, hilarity ensues, making for an unforgettable night of comedy.

ROLES

Henry Saunders -- Early-to-Late 50s. The flustered executive director of the Cleveland Grand Opera House. Imagine Dr. Frasier Crane as the head of an opera company. Now imagine that Lucciano Pavarotti has agreed to appear there for a benefit performance. Now imagine that everything, but everything goes wrong.

Max Garber -- Mid 20s-Mid 30s. Saunders’ assistant, neurotic and under-condfident to a fault. A ner-do-well nerd who dearly loves Maggie, dearly loves opera, and desperately longs for courage. Saunders keeps a tight leash on Max, but it's Max that rises to the occassion and dons Tito's spare costume when the opera needs its star. **Role requires some singing.**

Maggie Saunders -- Mid 20s-Mid 30s. She's the day-dreaming, sweet lamb of a daughter of the opera company manager, Saunders. While her father's influence has kept her sheltered, she often looks outward at the beauty of life through the arts. While a dreamy-eyed fan of Tito Morelli, she is also Max's girlfriend (even if her father disapproves).

Tito Merelli -- Mid 30s-to-Mid 40s. Bombastic - larger than life - IL STUPENDO as he's known to his fans. He's a life-loving, over-indulgent world-class tenor with a passion for food, wine, women, and especially opera. And women. Finds himself fond of Max after befriending him, sharing his love of the arts with him. **Role requires some singing.**

Maria Merelli -- Mid 30s-to- Mid 40s; Tito's wife, who loves him dearly - but is well aware of his affairs abroad. A hot-blooded, hot-tempered Italian woman who's as quickly kick as kiss her husband. Often fights with Tito, but never for too long.

Julia -- 50's-60's. President of the Opera Guild and a Grand Dame in her own right, she is one of the primary patrons of the Cleveland Grand Opera Company, and one of the few people who can put Henry Saunders to task when needed. Similar to Saunders, she will do anything to ensure the show goes on without a hitch and their tempermental tenor is well taken care of.

Diana Bateman -- Late 20s to Late 30s. An ambitious soprano of the Cleveland Grand Opera Company. While she can come off as vapid, in reality she is always planning the next step to get ahead - by any means necessary, including the use of her feminine wiles (which she is popularly well known for).

Bellhop -- 20s. Another obsessive fan of Tito Morelli, to the point of near-stalker. Surprisingly impressive knowledge (even knowing how to speak Italian themselves), but constantly tread on by the guests and patrons of the hotel.