By Cari Lynn Pace
Sonoma’s Rotary Stage at Andrews Hall transforms into a classroom for opera legend Maria Callas, where she instructs aspiring opera stars. A creation based on actual events, Terrence McNally’s story stars Libby Oberlin as Madame Callas. Under the direction of veteran Carl Jordan, Oberlin becomes a tour-de-force in this poignant look back at the Diva’s life.
The audience is welcomed as if we are all students by a commanding Madame Callas. She sharply addresses us “There will be no applause, we are here to work!” We meekly obey. She is at once mercurial, charming and aloof.
Reduced to teaching master classes at Julliard in 1971-72, Madame Callas shares recorded snatches of her past triumphs and once-incredible voice. Although she does not sing, she reminisces about past triumphs and loves. And losses. Callas was the world’s American-born Greek goddess whose voice, like her pedestal, crumbled away far too soon.
Madame Callas as channeled by the talented Oberlin is a firestorm onstage. She mocks her pianist (John Partridge) for his clothing choices. She barks orders to stagehand Dan Monez. When her first student, a soprano beautifully played by Emily Evans, appears in a short dress, the Diva is not amused.
“Helpful” criticism overflows to the audience, some of whom are berated for their obvious lack of style. Evans does a fine turn as the terrorized young singer who does her best to comply with Madame Callas’ instructions. When the soprano finally does get to sing, the audience erupts in a burst of encouraging – and supportive – applause.
“When the soprano finally does get to sing, the audience erupts in a burst of encouraging – and supportive – applause.”
The Diva’s next “victim” (as she calls them) is another soprano, played by regal redhead Morgan Harrington. Although dressed resplendently, Madame cuttingly dismisses her to re-do her stage entrance. She does not reappear; Madame Callas suspects this student is gone for good.
An attractive tenor is next (Robert Dornaus) and his confidence and style impress the Diva. When his fine tenor voice fills the auditorium, Madame shifts her criticism. This class is not as much about his voice; she zeros in to correct his pronunciation and his presentation of the role.
The dismissed soprano (Harrington) reappears, Madame insists she fully master the emotion of what she sings. This is the reputation and legacy of Maria Callas as she performed at all the greatest opera houses around the world.
Throughout “Master Class,” Callas draws from the well of emotional pains of her upbringing and dramatic life onstage and off. Her end-of career reminiscences interrupt the lessons, with clips of her past projected behind her. The saddest line Madame Callas speaks is in Act II, when she admits to the re-appearing soprano “I would never tell anyone not to applaud. Sometimes applause is the only thing we have to live on.”
COVID Update: Sonoma Arts Live has a policy of COVID protections. They require evidence of vaccination or similar safety precautions and masks are worn throughout the performance. See the website for full information.
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| Production | Master Class |
|---|---|
| Written by | Terrence McNally |
| Directed by | Carl Jordan |
| Producing Company | Sonoma Arts Live |
| Production Dates | February 27, 2022 |
| Production Address | Rotary Stage: Andrews Hall, Sonoma Community Center 276 E. Napa Street, Sonoma |
| Website | www.sonomaartslive.org |
| Telephone | 866-710-8942 |
| Tickets | $25 – $42 |
| Reviewer Score | Max in each category is 5/5 |
| Overall | 4/5 |
| Performance | 4/5 |
| Script | 4/5 |
| Stagecraft | 4/5 |
| Aisle Seat Review Pick? | YES! |