Master Class - theatre; review

From 1971 to 1972, opera superstar Maria Callas conducted master classes at New York's prestigious Juilliard School of Music, which were transcribed and collected into a book editted by John Ardoin. Playwright Terrence McNally was inspired by the lectures and wrote his play Master Class.

McNally's Master Class touches on many aspects of Maria Callas' life, yet is not a biographical portrait. It's a dramatisation exploring the nature of artistic creation which Maria Callas applied to operatic singing and acting.

Master Class allows Maria Callas to communicate directly with the audience, without her singing on stage and features recordings of her singing arias by Giuseppi Verdi, Giacomo Puccini and Vincenzo Bellini.

Master Class A Masterpiece by Linh

Independent Theatre's artistic director Rob Croser has brought together a team of talented South Australian performers to present a moved play-reading (with scripts in hand) of Terrence McNally's Master Class.

Master Class provided a wonderful opportunity to see Kathryn Fisher in the role of 'La Divina' Maria Callas and she succeeds in presenting an expression of the the opera diva instead of an impersonation. Speaking in a rich and dramatic tone with Greek accent throughout, Kathryn's Callas is imposing, glamourous, witty, dark humoured and refers to the students as "victims". Kathryn's side monologues of Callas' public recollections and private pain were highlights (with Callas singing arias from Verdi, Puccini and Bellini in the background), displaying the contradictory nature of her personality. A proud and egotistical woman, yet so vulnerable and self-pitying. Kathryn transpires Callas as a person who is as real, passionate, jealous and eccentric as any opera character.

Jessica Dean as the nervous and awkward student, soprano Sophie, gave an impressive insight into the passion of a young singer who wants to have something special that other artists can envy and strive for, yet her choice of song from La Sonnambula (The Sleepwalker) doesn't impress Callas. Jessica's portrayal of the naivety and eagerness of her character to learn more can be further enhanced if she were given a few more lines.

Callas' other "victim", another soprano Sharon, is played brilliantly by the effervescent Johanna Allen in a dazzling gown. Callas is delighted with Sharon's singing yet unimpressed with the overdressing. Johanna delivers an enthralling performance of Lady Macbeth's 'letter' aria Vieni,t'affretta! as Sharon, yet Callas advises her to choose flimsy roles.

Anthony Hunt played the accompanist, Manny, sitting at the piano for the entire production, and provided sterling support in music for the students and conversation with Callas.

Following his success in Independent Theatre's Cry The Beloved Country, Shedrick Yarkpai returns with a small but integral role that contrasts with everyone else's adulation and admiration for Callas as an artist. Shedrick gives a simplistic and engaging performance as the Stagehand who serves Callas water, and tends to her needs, while displaying deep respect for her.

This production of Master Class not only teaches the students how to interpret the language and emotion of the music but also gives the audience a glimpse into Callas' ability to transcend the human voice into the passionate depths of the operas' characters and the composer's intent. This is why Maris Callas' sublime artistry and magnetism on and off stage is unparalleled.