Henry Saunders is in a right pickle. His fortunes hang on a new production of Verdi’s Otello in Cleveland, Ohio. But his lead singer, volatile Italian tenor Tito Merelli, hasn’t turned up. “I could sing the role,” suggests downtrodden assistant Max (Damian Humbley). Saunders stares at him with undisguised disdain.

Thus begins the storyline of Ken Ludwig’s 1986 comedy Lend Me a Tenor. Now the show has been turned into a workmanlike musical by Peter Sham (lyrics) and Brad Carroll (music). Comedy remains at the forefront, however, as three Opera Ladies appear (Gay Soper, Jane Quinn, and Michelle Bishop, a hilarious trio). They possess a talent for arriving at awkward moments. Worse, it transpires that all three have been successively married to Saunders.

Finally, tenor Merelli (Michael Matus) arrives, every inch a stereotype Italian womaniser. He is accompanied by his terrifying wife (a star performance from Joanna Riding): “My ’usband eeez a pig,” she snarls. She quickly confronts the lead soprano (Sophie-Louise Dann, also a star performer). The Merellis have been booked into the best hotel in town (no sordid digs for them). Their suite contains many doors and cupboards, which come in very handy as the show (expertly directed by Ian Talbot) moves from backstage musical into the realms of pure farce. Hovering like an agitated stork is the tall figure of Saunders. The role is made for Matthew Kelly (pictured with Damian Humbley), and he gives the character of Saunders a certain edge: this is a man, you suspect, who would burn the opera house down and claim the insurance money if all else failed.

Paul Farnsworth’s gilt-encrusted sets and 1930s costumes look ravishing. If you’ve had a heavy day in London, this lightweight show could be just the job before you take the coach or train back to Oxfordshire.

Tickets www.delfontmackintosh.co.uk or 0844 482 5136.