Desert Foothills Theatre had fallen off my radar screen a few season's ago, and it wasn't until I heard mention of local actor/director Jared Sakren's involvement in a production of the hilarious opera-based farce Lend Me a Tenor that I decided to drive up to Cave Creek. If this production is an example of what has been going on in my absence, I feel silly for not heading up there sooner. Managing Artistic Director Todd G. Ortone has raised the standards of the company immensely, and the farce that bounds over the boards at the Cactus Shadow's Fine Arts Center is one of the best mountings of a farce I've seen in quite awhile.

In 1934 Cleveland, the opera world is abuzz with the arrival of famed tenor Tito Merelli. Impresario Henry Saunders has scored this coup, and with the help of his sweet daughter Maggie and his tenor-wannabe assistant Max, Tito will wow crowds in a production of Othello. However, a jealous wife and a mix-up in dosages of barbiturates leads to a desperate Henry trying to pass Max off as the famed tenor to save the evening. Knowing the set has six doors should let you know how farcical the evening becomes.

Sakren is a proven commodity, and here he moves beyond his normal classic venue to choreograph a hilarious evening. Between his amazingly precise blocking and pacing and his excellent casting, Sakren creates a nonstop laugh-fest. This is a production helmed by a professional, filled with a talented cast, and envisioned by great designers.

Placing the proceedings on the broad shoulders of consummate clown Daniel Good as the put upon Max is an inspired choice. While it's been proven that his comic skills are impeccable, who knew he had the set of pipes that would allow him and the hilarious Roy Hunt as Tito to impress in an operatic duet? There is never a moment when Good isn't great, believably creating a full character in the middle of an unbelievable farce. Jennifer Bemis' Maggie is a sweetheart, making her a slightly affected girl looking to become a woman. There's more than a little 30s film ingénue in her wise choices. Hunt and his crazed wife Maria (Gena Tleel) are a grandly dysfunctional couple, and their performances are top-notch, from their wild accents to their histrionics. Walt Pedano is a little lacking as Henry Saunders. He works well with Good, but he's not quite as believable, and his reactions seem forced.

The supporting cast is uniformly on-target. I've seen Andrea Pruseau in three separate roles already this season, and she's been exemplary in each. Here, she is a gem as an uptight opera patroness, loads of poise and pretension. Diane Senffner is excellent as a slinky soprano diva, and John Salisbury's odd vocal patterns as the fey Frank the Bellhop make every line of his silly fun.

Matt Marich's set is incredible, a recreation of a hotel suite that looks good enough to move into. Christopher Rigney's lighting is generally effective, though some of the positions seem off from the furniture pieces. Diane Welle's costumes are impeccable, while Christopher Scinto's sound design is flawless.

I highly recommend catching this production. I look forward to more great theatre from DFT.