Master Class
Before Whitney Houston, Cher and other notable divas, there was Maria Callas. A sensational opera singer, Callas stirred a furor of critical debate over the quality of her voice while packing opera houses with rapt admirers. (One young man leapt from the balcony when he saw her perform, but survived without injury). Her discipline and unflinching attitude towards her craft earned her the reputation of being difficult, and her tumultuous love affair with Ari Onassis ended in heartbreak after his abrupt marriage to Jackie Kennedy. Maria Callas died of a heart attack in Paris. She was 53.
The outstanding Ellen Geer gives Terence McNally’s unflinching portrayal of Maria Callas a sensitive turn in Theatricum Botanicum’s highly anticipated “Master Class.” Geer, a perennial director and performer at the Topanga Rep Co. proves she has the chops and voice for this challenging role.
The title comes from McNally’s inclusion of the audience as they sit in on one of Callas’ master classes, which she gave a series of twelve at Julliard in 1971. Extrapolating the highs and lows of her infamous career, Geer’s Callas defends her strict artistic stance as a parade of young wide-eyed, slack-jawed wannabe’s compete for her attention but receive her brusque criticism.
With the exception of the students and the accompanist, Manny, amusingly played by Cody T. Gilette as a groveling straight man to Geer’s dismissive airs, the role of Callas is much like a one-woman show. As she instructs her untried students, finding moments of brilliance with pieces that would otherwise swallow them whole, while Callas sweeps about, lost in nostalgic monologues of her own successes and bitter failures as a woman, a lover and an artist.
It is always attention to the art forefront in McNally’s Callas. But Geer shades this hard-edged soprano with emotive tenderness and depth, creating a subtle liaison between her and the audience that is infectious. We hear the music, and hear Geer’s impressive vocals, but we feel the pain that would overshadow the opera singer’s personal life.
For those unfamiliar with Maria Callas’ biography, this play is an excellent biopic. Fans of Callas might be in for a disappointment if they expect to hear her original recordings. Geer primarily sings throughout, and is more than capable—so long as you don’t compare her to the original.
Still, Theatricum Botanicum’s production does provide excellent operatic talent when it comes to the green, over-eager students. 1st Soprano, Sophie sweetly shines with Elizabeth Tobias’ awkward posturing and nervously maintained vocals. Andreas Beckett’s Tony the Tenor surprises with a rich register and outstanding quality. Meaghan Boeing charms as 2nd Soprano, but takes the audience to new heights as she sings from Verdi’s “Macbeth.”
Heidi Helen Davis smartly relies on Geer to inhabit the space with her regal, yet accessible presence. The play itself does not require much in terms of staging or movement, but Davis never allows for a static moment. Throughout there is much humor and tension that keeps the cyclical nature of the play from becoming too predictable.
Geer’s Callas may not have you leaping from the balcony (there is no balcony in this amphitheatre), but she will cause your heart to leap a little in your throat. Brava!
“Master Class”
Runs through Sept 25
Fri, Sat and Sun performances
Times are variable.
The Will Geer Theatricum Botanicum
1419 N. Topanga Canyon Blvd.
Topanga, 90290
Midway bet. PCH & the 101
PH: 310-455-3723
www.theatricum.com
Dress warmly for evening performances.