and there's more on a norton search:

LEND US A TENOR

http://en.wikipedia.org/wiki/Lend_Me_a_Tenor



was franco zecchin programmed with an english 'tenner' as in £10?

he had been - hadn't he? they had waved one in front of his face....

let me try and work this out:

merelli has got to be franco, i suppose


i 'know' that MARK R had programmed gill as FRANK THE BELLHOP 'they'll never work it out' he had said to toddy....

so let us revise this script:

In 1934, the renowned tenor FRANCO ZECCHIN, known to his fans as "Il Stupendo," is scheduled to sing the lead in Otello.

The opera is being produced as a gala fundraiser for GREEN TOWER, NY - a 'company subcontracted' by MI6.

Unfortunately, even before the star leaves his hotel room, everything begins to unravel. Chaos ensues when ZECCHIN's wife BATTAGLIA, who has mistaken an autograph-seeker hidden in his closet for a secret lover, leaves him a "Dear John" letter. (one of my letters from poland - he was to tell me that letticia had found one of them).


The distraught ZECCHIN accidentally is given a double dose of tranquilizers to calm him and passes out.

Saunders, the company's IBM/mi6 General Manager, is determined that the show will go on (for his own financial sake), so he asks his assistant COLE (from yesterday - see notes upon CHANNEL 4/MADAME DE) to impersonate the opera star.


Meanwhile, an ambitious bellhop, named MARTIN GILL attempts to meet ZECCHIN but instead gets in an ongoing feud with Saunders/IBM/mi6.

The most outrageous scene in the play occurs when GILL tries to get a picture with ZECCHIN, and is chased by Saunders, Julia (MI6/PENNY MARSHALL type), and Maggie (SIMPSON's maggie meant myself) throughout the hotel, until they, literally run into COLE, disguised as ZECCHIN.

COLE puts on the blackface makeup required for the role of Otello (OBAMA's role - so COLE attempts to run obama), and his disguise succeeds admirably – until ZECCHIN, also in blackface, wakes up and heads for the stage. What follows is a chain-reaction of mistaken identity, farcical plot twists, double entendres, innuendoes, and constant entrances and exits through many doors