Review: Master Class (Theo Ubique Cabaret Theatre)

  
  
Master Class

Written by Terrence McNally 
Directed by Fred Anzevino
at No Exit Café, 6970 N. Glenwood (map)
thru Nov 24  |  tickets: $25-$30   |  more info
  
Check for half-price tickets 
  
  
   Read review
  

---

Captivating behind-the-scenes look into
century’s most celebrated opera diva

Theo Ubique Cabaret Theatre presents

Master Class

Review by Lauren Whalen 

Maria Callas was a hard nut to crack. She had to be: the legendary diva weathered war, transcontinental moves, name changes and divorce in her meteoric rise to the top and sad sink to the bottom (she died a recluse in Paris in 1977). But demanding personality aside, Callas possessed what every singer aspires to: a voice that’s its own musical instrument. Theo Ubique’s production of Master Class is an intimate glimpse into the sometimes tyrannical but always fascinating opera star, with thoughtful direction, transcendent vocals and a bravura lead performance.

Inspired by true events, Master Class follows Callas (Kelli Harrington) through coaching sessions with three wannabe professional singers (Rachel Klippel, Kevin Siembor and Ashlee Hardgrave), interspersed with the diva’s wry asides to the audience and introspections on her career and personal life. Whether dressing down the accompanist (music director Jeremy Ramey) for not having a signature style or picking apart her students’ pieces bar by bar, Callas reveals increasingly guarded details of her offstage existence: the decline of her marriage, her affair with magnate Aristotle Onassis, her struggles with body image and opera house management. Callas never sings live during the play and is only heard in recordings (fitting, as her voice had declined considerably by the early 1970’s when the play takes place), but every ounce of thought and passion she put into the notes is vividly, alarmingly present.

Theo Ubique’s space at No Exit Café – a cozy venue with tables, booths and a bar in back – provides a perfect backdrop for this powerful production where complex characters (one in particular) trump flashy effects. Not much set or lighting is needed for Master Class, but Adam Veness’ mostly bare set conveys a rehearsal hall quite well, and Brian Hoehne’s lighting deftly illustrates both Maria’s mournful flashbacks and the garish light of the real world. Bill Morey’s excellent costumes are subtle but well thought out, from soprano Sophie’s short, funky dress to Maria’s flowing pantsuit and Hermes scarf (a “look” that the soprano informs the audience she has carefully cultivated over the years). Director Fred Anzevino’s careful actor coaching and unpretentious blocking are exactly right: rather than overcompensate, he lets the story and characters speak for themselves. And Ramey’s able music direction showcases the trained singers (including Harrington herself) in an admirable way.

Though they weather stops and starts from relentless instructor Callas, each singer gets a chance to shine. Klippel has a wonderful, expressive soprano, and Siembor’s tenor evokes true longing. Hardgrave is rich and powerful as she sings the role of Lady Macbeth, and has some nice bits of dialog as well. But this Master Class truly belongs to two-time Jeff Award-winner Harrington. The play would suffer without a strong leading lady, as Callas almost never leaves the stage – or stops talking. Though her own soprano is never heard, Harrington carries herself like a true musician and it’s easy to believe her Callas was once the toast of the opera world and is still celebrated today. With the precision of a scientist, she dissects each note, word and moment such that every transition appears completely organic. Even if the rest of the production was subpar (most definitely not the case), this Master Class would be worth seeing just for Harrington.

As a performer myself, who studied voice for many years with a former opera singer, I’m always eager for backstage stories. In the case of Master Class, all it takes is one miscast lead to throw the whole production out of proportion. Thankfully, Theo Ubique’s standout interpretation does everything right by casting the brilliant Harrington and building from there. In fact, it’s easy to believe that the late Callas may not have outwardly praised Harrington, but perhaps would have smirked with barely concealed pride.

Rating: ★★★½

Master Class continues through November 24th at Theo Ubique Cabaret Theatre, 6970 N. Glenwood (map), with performances Thursdays at 7:30pm, Fridays/Saturdays 8pm, Sundays 7pm.  Tickets are $25-$30 for performance only, $54-$59 with a meal included, and are available by phone (773-347-1109) or online through Tix.com (check for half-price tickets at Goldstar.com). More information at Theo-u.com.  (Running time: 2 hours 15 minutes, includes an intermission)

Photos by Adam Veness

---

artists

cast

Kelli Harrington (Maria Callas), Jeremy Ramey (Manny: Accompanist), Rachel Klippel (Sophie), Ashlee Hardgrave (Sharon), Kevin Siembor (Tony), Paige Keedy (Stagehand), Caroline Wright, Sarah Simmons (understudies)

behind the scenes

Fred Anzevino (director), Jeremy Ramey (music director), Paige Keedy (stage manager, prop design), Adam Veness (scenic design, sound design, photos), Brian Hoehne (lighting designer), Bill Morey (costume design)

13-1028