We get the Onassis account through her memories as the other action on stage halts or is depicted mutely. Knowing about helpless passion, we understand why she gestures a bit lower than her gut when she tells students where their arias must come from.

The second soprano, Sharon Graham (Jacqueline Pina), steps out in an elaborate evening gown. When she escapes after Callas makes fun of her attire, we expect that she's gone for good. No, she only went away to throw up. We admire her for returning. She certainly has mut, the German word for courage, which the diva later explains is fundamental to art. This is also manifested by an arrogant tenor, Anthony Candolino (Josh Christensen), when he humbly refuses to leave the stage for not being sufficiently prepared.

Bravo, brava.

By the way, the simple but classy set design by Trevor Elliot strikes just the right notes. Callas and a baby grand piano are in their optimal setting, sleek acoustic panels above and around. Even courage needs a proper setting.

< prev  1  |  2  | 
  Topics: Theater , Opera, Bob Colonna, Theater,  More more >
| More

Most Popular
Share this entry with Delicious
  •   TWOTENOYSTER BAR & GRILL  |  July 23, 2014
    One of the appealing features of living in a place called the Ocean State is that there are plenty of water-view restaurants.
  •   BEE'S THAI CUISINE  |  July 16, 2014
    On the radar of Providence foodies, the ding of Bee’s Thai Cuisine has grown increasingly louder and brighter.
  •   THE FINAL COUNTDOWN  |  July 16, 2014
    Strap in for a fast-paced adaptation of Agatha Christie's classic mystery.
  •   A SO-SO SATIRE  |  July 02, 2014
    There’s this poor country whose medium of exchange is goats (actually, promises of parts of a goat — promissory goats).
  •   PROFOUNDLY SILLY  |  June 25, 2014
    It’s been more than a half-century since Eugène Ionesco’s first play, The Bald Soprano , was written in a burst of splenetic post-WWII exasperation over the ludicrous behavior of his species.

 See all articles by: BILL RODRIGUEZ