Vlad Bunoan

Menchu Lauchengco-Yulo embraces challenge of playing Maria Callas in ‘Master Class’

Article (news)

Leah C. Salterio

<p>MANILA — Veteran stage actress Menchu Lauchengco-Yulo said stepping into the role of opera legend Maria Callas in “Master Class” is among the most demanding challenges of her career, as she prepares to portray the iconic diva in the upcoming production by the Philippine Opera Company.</p><p>The role of Maria Callas was offered to her early this year by Karla Patricia Gutierrez, president, artistic director and founder of  Philippine Opera Company (POC), which will stage “Master Class” starting May 15 at the RCBC Theater in Makati City.</p><p>“Karla and I were backstage in the recent Gawad Buhay awards,” Lauchengco-Yulo recalled. “She calls me ‘Mommy’ because I was Fantine to her Cosette when we did ‘Les Miz’ (1993) at the Meralco Theater. </p><p>“Karla said, ‘I need a show. What do you think about ‘Master Class?’ I said you want me to direct? Karla said, ‘No, you’ll be Maria Callas.’ I knew instantly that would be a challenge because the script of ‘Master Class’ means memorizing mega lines. Act 1 ends with a three-page monologue. I was thinking if I don’t do ‘Master Class’ now, when? It is a challenge.”</p><div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776915066391Callas_2.jpg" style="width:633px" class="fr-fic fr-dib"/></div><p>“Master Class” was first played on the local stage by Baby Barredo in 2006 and Cherie Gil in 2010. In the US, Callas was portrayed by the likes of Faye Dunaway and even Angelina Jolie.</p><p>When “Master Class&quot; was offered to her, Lauchengco-Yulo initially had second thoughts about accepting the role. “I remember Cherie then. I remember her panicking. She did monologue upon monologue upon monologue. She didn’t stop talking. It was all her. Then I have to learn the Italian words because I have to recite the operas. It’s really a challenge.”</p><p>Lauchengco-Yulo describes “Master Class” as a “Jekyll &amp; Hyde” production. “I’m turning 63 years old [this July]. While I can still memorize long lines, I’ll accept the challenge. Karla asked me who would I want to direct ‘Master Class.’ I only had one person in mind and that was Jaime (del Mundo) because of his knowledge of the opera and we have a good relationship.”</p><p>Written by critically acclaimed playwright Terrence McNally, the play is based on the master classes Maria Callas delivered in 1971 and 1972. “She was commissioned by Julliard [Conservatory] for two years,” Lauchengco-Yulo said. “She did that for two years and she thought she would find fulfillment in it, but she really didn’t, so she stopped. She was trying to find something that would fulfill her.”</p><p>In McNally’s play, audiences will find out what Maria Callas went through. “We get a glimpse of the real Callas, the insecure Callas,” Lauchengco-Yulo said. “She was so vulnerable. Everybody wanted her to fail. That is the brilliance of Terrence McNally. </p><div>“In this particular version, Maria Callas cannot sing anymore. She tried to do it with Lady Macbeth and then she realizes it was not good. It was not there anymore. In the script, a broken voice comes out. I tried to copy her inflections without really copying her. It was also hard how she talked.&quot;<img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776915129412Callas_11.jpg" style="width:633px" class="fr-fic fr-dib"/>When Callas saw Hollywood actress Audrey Hepburn, she wanted to be like the slim and beautiful actress. “She tried to emulate Audrey so she went on a crash diet. She became like Audrey. She started dressing like Audrey with the hat. She became glamorous later on when she had money and after she married [Italian industrialist| Giovanni Battista Meneghini, her first husband who was a lot older than her.”</div><p>Callas believed she had no rival in the opera world. “How can I have rivals when no one can do what I can do?’ She was bragging, ‘If I can find someone who can do ‘La Traviata’ today and ‘Tosca’ tomorrow, then I can consider them a rival. But for now, nobody can do that.’ That’s true. Callas was not being a bitch. She was being realistic. That’s true. Nobody can do what she did.”</p><div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776915167453Callas_3.jpg" style="width:633px" class="fr-fic fr-dib"/></div><p>Since Lauchengco-Yulo also works as a director plays, musicals and concerts, she finds herself arguing with del Mundo often during their rehearsals.</p><p>“When Jaime makes me do something, I tell him, ‘No, that doesn’t work for me. This blocking doesn’t work. Let’s try this’,” she said. “I guess that’s when you have two directors together. But we have high respect for each other. </p><p>“I was able to change about a lot of things in the play. Jaime was also convinced to do a lot. It’s a collaboration between us, but it’s hard when you’re both directors. The goal is to come out with the best show. He tells me, ‘What is this line about?’ I would say, ‘I thought it was about this. Why is it wrong?”</p><p>They later began casting the singers, with tenor Arman Ferrer selected as Anthony Candolino, one of Maria Callas’ three students. Soprano and physician Alexandra Bernas was cast as Sophie de Palma, while Louie Angelo Oca takes on the role of accompanist Manny Weinstock.</p><div><img src="https://od2-image-api.abs-cbn.com/prod/editorImage/1776915230894att.UkLQXWDTWycowOFiGEbXQLYIBEhLRaDtvjbZEjoCNME.jpeg" style="width:950px" class="fr-fic fr-dib"/></div><div><br/></div><p>Lauchengco-Yulo admits she is not an opera enthusiast and knew Maria Callas largely by name and reputation prior to taking on the role. She said portraying Callas onstage has been a significant challenge, especially after she began researching the opera icon. “I know some, but not a lot,” she said. “I’m not like Jaime or Arman who knew their opera. It was only through my research after I learned I would portray this magnificent woman and what she went through.</p><p>“Maria was singing during World War II. She went through the conservatories during the war. Sometimes, her feet was bleeding because she didn’t have the right shoes. What she went through with Aristotle Onassis and how he left her for Jackie O, she was terrified then. She was very, very scared to perform in the opera world because she was waiting for her to fail.</p><p>“Her mother was mean to her. She had a beautiful sister. Her mother preferred her sister who was pretty. She was pitted against her sister. When Maria was young, she was fat and ugly. She had bad skin. That’s why she said in the play, ‘It’s important to have a look.’ She didn’t have it then. When she lost weight, she became glamorous. </p><p>“Maria died alone. She was found by her housekeeper in Paris. She died of a heart attack in 1977. She was 53 years old. By then, she no longer had her voice.”</p><p>Lauchengco-Yulo said her favorite line in “Master Class,” which has since become a meme, is a reminder she often returns to: “Try isn’t good enough. Theater isn’t about trying. People do not leave their homes to see us try. People come to see us do.”</p><p>Presented by the Philippine Opera Company, “Master Class” features set and production design by Joey Mendoza and costume design and consultancy by Zeny Gutierrez, with suit design for Maria Callas by JC Buendia. Also in the cast are Angeli Benipayo as Sharon Graham and Nelsito Gomez as a stage hand.</p><p>It opens on May 15 and runs until May 30 at the Carlos P. Romulo Auditorium, RCBC Plaza, Makati, with 8 p.m. evening performances Friday and Saturday and 3 p.m. weekend matinees.</p>

<p>Menchu Lauchengco-Yulo described her upcoming turn as Maria Callas in “Master Class” as one of the most demanding roles of her career.</p>

Menchu Lauchengco-Yulo described her upcoming turn as Maria Callas in “Master Class” as one of the most demanding roles of her career.