The humor of constant confusion

(Photo courtesy Greenbrier Valley Theatre)
Constantine Pappas, who will portray Max in GVT’s 2019 production of Ken Ludwig’s A Comedy of Tenors.

Greenbrier Valley Theatre (GVT), the state professional theatre of West Virginia, is proud to present the side-splitting farce A Comedy of Tenors.

(Photo courtesy Greenbrier Valley Theatre)
Wendye Clarendon, Kermit Medsker and Constantine Pappas rehearsing for GVT’s 2019 production of Ken Ludwig’s A Comedy of Tenors.

Ken Ludwig’s comedy runs May 17 and 18 at 7:30 p.m., May 23-25 at 7:30 p.m. and May 30-June 1 at 7:30 p.m., with a matinee performance on May 25 at 2:30 p.m.

Tickets are $30 for general adult admission, $27 for seniors (60+) and $20 for children/students. For more information, call the GVT Box Office at 304-645-3838 or visit

In glamorous 1930s Paris, Producer Henry Saunders has everything he needs to throw the concert of the century, as long as he can keep his star, Tito Merelli, out of trouble. Henry will do whatever it takes to make sure his show goes off without a hitch.

Opera, drama, humor; this play has it all! It’s an exciting opportunity, and one young actor grabbed his chance to participate in GVT’s production. Constantine Pappas, a graduate of Fresno State with a concentration in Opera, is making his GVT debut in Ludwig’s farce A Comedy of Tenors.

Pappas, who will be portraying Max, became interested in theatre at age four when he heard recordings of his uncle, Evan Pappas. His uncle had starred in such Broadway shows as My Favorite Year and Parade, and won a Helen Hayes Award for his role in the U.S. premiere of Lucky Stiff.

Since that young age, Pappas knew he wanted to be on stage, and he loves every chance to get into the spotlight and take on new roles. Some of those roles include the Barber in The Barber of Seville and Raoul in The Phantom of the Opera.

“I love playing comic roles, but I also enjoy roles that present the appropriate opportunity to express my dramatic side,” he said.

Having seen and loved Ludwig’s Lend Me a Tenor, Pappas knew he had to audition for the sequel, describing it as a surreal experience. With the pace of the show and the speed of the dialogue, it is important that the actors never lose their place, or crucial information could be missed. While Pappas does find this challenging, he also knows that it carries the plot, and hopes the audience notices that as well.

“This play exemplifies what happens when severe miscommunication takes place, so I hope the play serves as a basis as to why it is necessary to communicate effectively with one another,” Pappas said.

The program is presented with financial assistance from the WV Division of Arts, Culture & History, and the National Endowment for the Arts, with approval from the WV Commission on the Arts.