When Livingston as Callas first enters some theatergoers found it unnerving that the divine diva spoke directly to them. . .it took several minutes before they realized they were a part of the master class and that it was all an act: indeed, Livingston out-Callas’ Callas with a performance that rivets.Jeff G. Rack’s stage of a stage is quietly elegant as are Callas’ costumes - is that a real Chanel bag? - by Randon Pool; lighting designer Dana Kilgore did an outstanding job (watch for that backdrop of La Scala) and Kate English kept a good eye on Kilgore’s designs.Produced by Leslie Nichols and stage managed by John Demers, “Master Class” has its own master at the helm with director David Ralphe, whose own grasp of the play and the great Callas guided smoothly what could be an, at times, confusing bit of theater.“Let yourself go! Who are you saving it for?” is not just another telling line hurled at a student by Callas in “Master Class,” but perhaps a dare to the public not to let this play move on without experiencing it.“Master Class” will play at the SPTC through June 23; call 525-4645 for ticket information.
Diva Maria Callas: ‘Master Class’ triumphs at SP Theater Center
June 19, 2002
Santa Paula News
“Master Class” is a class act indeed, with this latest Santa Paula Theater Center production one of the finest in recent years with an outstanding star turn. “Master Class” details the waning days of a world famous woman who reinvented herself over and over again in a quest for the happiness that in her life was, at best, fleeting.
Of course, it’s hard to go wrong when your main character is a legendary character in her own right: Maria Callas, whose operatic talents took a backseat to her tumultuous lif
By Peggy KellySanta Paula Times“Master Class” is a class act indeed, with this latest Santa Paula Theater Center production one of the finest in recent years with an outstanding star turn. “Master Class” details the waning days of a world famous woman who reinvented herself over and over again in a quest for the happiness that in her life was, at best, fleeting.Of course, it’s hard to go wrong when your main character is a legendary character in her own right: Maria Callas, whose operatic talents took a backseat to her tumultuous life and ultimately outshone one of the most magnificent voices ever heard.This Callas, still brilliant but embittered, has lost her voice, that shining instrument that opened the doors to the world now stilled while she oversees a master class in opera at the Julliard School of Music in New York. Terence McNally’s own talents as playwright earned him a Tony Award for his Callas, a temperamental diva whose worse enemy is herself and her dashed dreams.After a short-lived but magnificent career, Callas was reduced to reluctantly shared her lost talent, hearing others sing when all she wanted to hear was her own extraordinary soprano voice covering three octaves on all the major stages of the world.Linda Livingston is magnificent as Callas, arrogant, brash, egotistical, fiery, competitive and aggressive with her students. Callas turns remorseful, fearful and clinging as intimate reveries of her past surface, to herself, always to herself. Other memories are for public consumption as she tears into singing rivals, dismisses her Greek girlhood when she was fat and unattractive living on the verge of war and poverty, and clawed - and sang - her way to the top. A disastrous marriage to the man credited with her career, a love affair with Aristotle Onassis, doomed, revived and then doomed for all time, are unseen observers of the master class.Others not as fortunate include her master class accompanist, pianist Vincent Sorisio as Manny, who finds this diva far from darling but with well-placed acceptance bows to the past great talents of Callas and pays respectful homage from a distance. Not impressed at all is the clueless handyman who Callas treats as her personal, and not too bright, servant. After all, the unreasonable is reasonable to Callas, and handyman Jim Barker remains delightfully unimpressed by it all.What would a master class be without students? Lorraine MacDonald, Rena Petrello and Christopher Vasquez all want to reach for the stars, but going through Callas is another matter. Little do they know that they are facing Callas, whose jealousy of those who can sing, even the not so wonderfully talented, is great. Petrello’s Sophie is wannabe opera star as bimbo, short skirts, boots while Vasquez as Tony sings with all his heart, not easy in such tight pants. It’s up to MacDonald’s Sharon to be an almost match for the master in every way. . .except the voice, not the voice. “An artist enters and is!” rages Callas to MacDonald after her pedestrian entrance.
