I am a novice when it comes to ‘blogging.’ I'm not even sure what a blogger is expected to say. But having read David Mong's and Arika Schockmel's blogs on MASTER CLASS, my response is: “What else is there to say?” Both have displayed their incredible articulate writing skills. Just another gift they both have been blessed with. Can't say the same for this lady. Like Maria, "I'm not good with words." I count on the playwright to provide me with the gems. So much for the apologies: now onto the assignment;
What an amazing journey this has been.....and continues to be. From it inception at the luncheon date with Nancy Borgenicht where the idea of remounting MASTER CLASS led to the sold out Opening Night (Oct. 16th). It is a dream that every actor has, but rarely gets the privilege of seeing it become a reality. Had there not been time to prepare for this role, I never would have taken it on. The previous production (eleven years ago) was quickly and frantically mounted. We had to spend a huge amount of time rehearsing 3 different pianists. I received the offer 5 weeks before rehearsals began; this particular role requires months to get under your belt...regardless of your age. So, when Nancy offered this opportunity again nine months in advance...hmmm...same exact time for the building of a baby, I requested that we get our cast committed early; hopefully including David Mong as the Director again, and Paul Dorgan as the accompanist/Manny and Italian Coach. Auditions were held early in the Spring for the remaining roles and mission was accomplished. Everyone was in place well in advance. It paid off on many levels. It allowed all of our actors, Natalie, Stefanie, & Shane to devote the necessary time and commitment to preparing for these roles. Having Arika Schockmel was an added surprise and a wonderful gift. I had known her as an actor; now she displayed her amazing skills as Stage Manager. Keven's set creates the perfect ambiance, and even without a raised stage, he brings the Chapel into a reality of a classroom with a stage. It’s a beautiful set with an exquisite baby grand piano center-stage, thanks to Rick Baldassin. Brenda Van Der Wiel is always so accommodating in providing appropriate and stunning costuming, but she also sees that the actor is comfortable in her selections; Jennifer Lloyd created the perfect Callas Wig for me...absolutely perfect! (and all of this with a brand new baby herself, and responsible for all of the wigs for Utah Opera's MACBETTO) . People have no idea the importance of lighting which is the final ingredient to the magic of theatre. Jim Craig is a master at this. I was so enormously relieved when I heard he was going to be with us again. My very long interior monologues would never work without the magic of his lighting. He truly understands theatre and how to make it work.
The amount of creative energy from the Marketing team at SLAC has been amazing. And it still continues. Cynthia, Andra, Becky,
Support aside, back to the beginning: the responsibility that rested on my shoulders was never questioned or ignored. With a brain and body that was now 11 years older (one that was actually too old to be playing Callas 11 years ago.. .but who’s counting), I knew I had taken on a challenge that was analogous to a much older woman deciding to have baby late in life.. From January on, there were very few days where I didn't work on the script, very few nights that I didn't dream about the script and admittedly many of those nights were nightmares. Paragraph by paragraph I slowly started the process of getting the script back into my brain. What was shocking to me was the fact that at the beginning very few lines looked even familiar to me, and the Italian was totally an unfamiliar language. I was certain I had never said those words before. I'm sure when I took my first Italian coaching session with Paul, he must have been quietly distressed and in disbelief, it was starting right from scratch. I even discovered that my voice had dropped in range and the notes I had sung 11 years earlier were not there. True, the script says: "Maria begins to sing the first lines of Lady Macbeth's recitative. What comes out is a cracked and broken thing...A voice in ruins." That direction helps a lot for an actor and it is only one phrase. However, I didn't want the first note to be a "cracked and ruined thing." So another visit to Betty Jeanne Chipman, age 90, no less, and who gave me my first vocal lessons when I played Golde in FIDDLER ON THE ROOF in early l970's. One coaching session, and she helped me get my vocal range back and gave me some vocalises that I use every night to warm up the voice.. The ‘crack’ comes easily and without extra preparation.
Mong's sense of the play, of Callas, of Opera, has increased enormously over the 11 years. The work we did in rehearsal this time had a much greater and more sensitive level of understanding. With one dedicated pianist, who also was an expert in opera and had significant experience in how Master Classes are conducted, we had time to work on small details, which was wonderful. I had time to read everything I could about Maria Callas. I had time to research lines, such as " so much was written about this...so much nonsense" or "the whole world knows what that is or was," etc. to help me justify her passion, anger, paranoia, rejection, etc. I had time to observe all the documentary films on her, the tapes of her Master Classes, the Interviews she gave; the controversies; the contradictions about her; the pain she experienced as a young woman and after an amazingly brief period of success (only 10 years), the loneliness of her final years. Yes, its true I devoted 9 months to the creating of this portrayal. And like a pregnancy, it had joyous moments, dreaded anxiety, significant labor pains, but finally the pleasure of a beautiful healthy baby, of whom I'm very proud and attached. .
Is Maria in my bones?....'fraid so, and always will be. With the exception of an intense love for the arts, and a commitment to serious work in creating art, Callas and Cullimore Decker have very little in common. Callas made an enormous contribution to the world of Opera. However, while she experienced fame and notoriety, her life was a tragic opera that the whole world witnessed; mine has been without fame or of any major contribution, but an extremely rich, happy, beautiful life that only my friends and family know about, as it should be.
To be able to share this script with our community is indeed a privilege. McNally's script goes far beyond entertainment; it is an homage to Art & Humanity and those of us who get to experience that every night in the theatre are privileged artists. When we have nights where our art has effected an audience, or even one person in the audience....that is indeed our reward.
Thank you Salt Lake Acting Company for this rare opportunity..
And now back to my script....yup! I have to read it every day before heading to the theatre.
P.S. Oh Wait: When I started this ‘blog’ whatever that means...I wanted to talk about the great experience the cast of MASTER CLASS had when the New York opera singers who are performing MACBETTO at Utah Opera came to see our Sunday afternoon performance (Brenda Harris: Lady M) and Louis Otey: Macbeth) with their spouses. We in turn were invited to see them on our night off (Monday). Both experiences were joyous for all of us, including the Opera stars who expressed great enthusiasm about their first experience at SLAC. Wish there could be more artistic exchanges such as this. Thanks to Michelle Petersen & Cynthia Fleming for making this all happen. The Opera, MACBETTO, is wonderful and you all should see it, after you've seen MASTER CLASS, of course.
From the Editors of Salt Lake Magazine
