Review: Diva Maria Callas Commands the Stage Once Again in MASTER CLASS at MetroStage

They don't make opera singers like Maria Callas anymore. True opera fans have their favorites, for sure, but the legendary persona of "La Divina," known nearly equally for her personal life and her singing broke the mold. Her voice, particularly renowned in her early days, is said to have declined quickly, most likely due to risky and challenging roles, coupled with rapid weight loss, among other factors. (These factors have been debated for years amongst critics and fans alike.) Her dramatic prowess onstage was her true hallmark, bringing unbridled passion to such roles as Donizetti's Lucia di Lammermoor, Bellini's Norma, and Puccini's Tosca.

Another Callas role fans became obsessed with was a 1958 recording from a performance in Spain of her Violetta in Verdi's LA TRAVIATA. This holy grail of opera recordings is known as the "Lisbon Traviata." Playwright Terrence McNally's play THE LISBON TRAVIATA, premiering in 1989, focused on friends and opera fanatics obsessed with the legendary TRAVIATA recording. Six years later, McNally would bring back the great diva herself as the central character in a play based on her series of master classes conducted at Juilliard in the early 1970s.

MASTER CLASS is McNally's fictionalized and highly entertaining play where "La Divina" once again brings her passions to the stage, this time as a teacher of young opera students. Originally starring Zoe Caldwell, and later revived with Tyne Daly as Callas, the play requires an actress who can exude the confidence, vulnerability, and bravado of the legend in her declining years.

For the production now lighting up MetroStage, Illona Dulaski embodies Callas in a tour de force performance. From her first entrance to her exit, Dulaski utilizes her formidable skills to paint a vivid portrait of larger than life figure who is also all too human. Her seduction of the Juilliard students, and at the same time, the audience, is pure theatrical magic. Dulaski shows off Callas the diva, Callas the ball-busting teacher, Callas the artist, and - most poignantly - Callas the wounded bird, looking back on defining moments in her life and career with honesty. By my way of thinking, as we watch Callas deliver her master class, Dulaski offers her own master class in acting - it is a performance that should not be missed.

McNally gives his version of Callas some wonderful, witty and razor sharp prose with which to tell her story. "You don't have a look. Get one quickly, as soon as possible," she tells a member of the audience, also a Juilliard student (in the conceit of the play). Later in the play, to one of the scared students, Callas says, "Applause is what we live for." After a weighted beat, she adds, "Sometimes it's all we have."

Director Nick Olcott, who knows his way around opera, gets out of the way of the play and allows Dulaski and her fellow cast members soar onstage. Accompanied by Joseph Walsh, as Manny, the fictional accompanist for the Callas master classes, three opera singers on the rise are featured as the Juilliard student "victims." Olcott and MetroStage producing director Carolyn Griffin stated they were committed to including three up-and-coming operatic performers in this production. The directors found their young and vibrant voices through three of the DC area's university music programs.

Emily Honzel is a first year graduate student in the Maryland Opera Studio at the University of Maryland School of Music, having recently graduated with honors from Northwestern. Honzel, as Sophie, is the first student Callas picks apart, especially as the perky soprano chooses to sing a selection from LA SONNAMBULA, one of Callas' signature roles.

As Tony, the cocky tenor student, Daniel Noone brings confidence to the stage that is quickly tempered by Callas. Noone's Tony responds to Callas' coaching and he reveals a powerful tenor voice that gets the diva-teacher's seal of approval, singing a selection from TOSCA. Noone is a graduate of the music program at Catholic University.

The last student, Sharon, returns after her nerves got the best of her and she ran away to the bathroom to throw up. Sharon, a remarkable acting and singing performance by Ayana Reed, holds her own with Dulaski's Callas note for note and moment to moment. A graduate of George Mason, Reed's character is the one student who turns the tables on Callas, and the moment gives the play and Dulaski's performance a pivot point that is palpable. Reed's Sharon also renders another one of Callas' signature roles and arias, Lady Macbeth's letter scene from Verdi's opera of Shakespeare's monumental tragedy. Reed unleashes a voice of stunning beauty.

Last but not least, singer and actor Michael Sharp, a familiar face at MetroStage, plays the Juilliard stagehand who must cater to Madame Callas' demands. He might not have a lot to say, but Sharp makes his own mark in the play with his handful of entrances and interactions with Dulaski.

Rhe'a Roland's set design perfectly sets the stage as a 1970s era recital hall. Alexander Keen's subtle lighting never distracts and works in perfect synch with the judicious projections designed by Gordon Nimmo-Smith. Lighting, projections and sound design take center stage at a couple of memorable moments enhancing the journey Callas' journey into her past.

If we gave stars at Broadway World, I would award MASTER CLASS at MetroStage a sky full. You have until June 11 to attend class with Madame Callas. Don't be late.

Follow Jeff Walker on Twitter - @jeffwalker66

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MASTER CLASS by Terrence McNally

Produced by MetroStage - 1201 North Royal Street, Alexandria, VA 22314

The show runs MAy 4 - June 11, 2017: Wednesdays, Thursdays and Fridays at 8; and Saturdays at 3; Sundays at 3 and 7 pm.

Two hours, one intermission.

For tickets, call 703.548.9044 or go to boxofficetickets.com

PHOTO CREDIT: Chris Banks

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