Maria Callas died more than 33 years ago yet her recordings still set standards in the opera world. Famous for her temper, rivalries with fellow divas and her longtime affair with Aristotle Onassis, she was hot copy in the press while alive and long after her death.

She had a tough life before her triumph as an one of the most revered figures in opera of all time. She lived and studied in Greece through World War II.

Callas had her premiere at the La Scala Opera House in Milan, Italy, considered to be the most prestigious opera house in the world in December, 1951. Seven years later, she was let go. She died at a young 54 years of age. Maria Callas was the consummate diva.

Award-winning playwright Terrence McNally (“Love! Valour! Compassion!,” “Frankie and Johnny in the Clair de Lune,” “The Ritz”) wrote “Master Class,” a fictional play based on the master classes taught by Callas at the Juilliard School in 1971 and 1972. A master class in the classical sense is a class taught by an experienced performer of specific art, here opera performance, to already experienced students. The class is taught one-on-one with other students observing.

This sets up a nice theatrical structure with the audience of “Master Class” serving as the students observing a master class for this performance.

The set by Stephen Jones (“Mauritius,” “Humble Boy,” “Proof,”) is a theater stage with a grand piano on one side, side chair and table at the back and a tall chair and music stand on the opposite side. The tall chair and music stand could be a throne for the diva. Theater curtains grace the back and sides of the stage.

The first scene opens with a stagehand nonchalantly sweeping the floor. The accompanist for the class enters and sits nervously at the piano waiting for Miss Callas to enter.

And enter she does, immaculately dressed in designer label clothes and accessories. She immediately begins addressing the audience as if they are attending her master class. “No applause. We're here to work.” she says.

When the first student enters she soon learn she is in for the Callas treatment.

When Callas finally allows each student to perform their piece she drifts into a flashback of her personal life and her life on the stage.

Janis Stevens' portrayal of Maria Callas is a revelation. She truly inhabits the character. It is astounding to watch. It becomes very easy to see how Callas got her reputation. Callas’ sense of humor comes though along with impatience, understanding and insight. Demanding one minute, apologizing (sort of) the next. We learn not to necessarily believe what she says as much as what she does.

During the flashbacks Stevens not only portrays Callas but also Onassis - voice, vulgarities and all.

This is not Stevens' first portrayal of a powerful but insecure, troubled performer. She was nominated for a Drama Desk Award in 2006 for her portrayal of Vivien Leigh in “Vivien” off-Broadway which she reprised at Sacramento Theatre Company in the 2007-2008 season. She is in rehearsal at STC portraying Emily Dickinson in the “Belle of Amherst.”

Janis Stevens is an artistic associate, teacher and an excellent director at Capitol Stage. She directed “reasons to be pretty.”

The rest of the cast does a good job. The singers' performance audibly improves as Callas works with them. It must be remembered that to even be allowed to attend a master class with an artist of Maria Callas’s stature a student would already be very good.

Wendolyn Cooper is the first soprano named Sophie. Cooper has a music degree from Yuba College. She performs and teaches voice lessons in Marysville. She is very believable as as a young student who finds the master threatening but still learns from her.

The second soprano, Sharon, is portrayed by Bay Area actor Laura Piper who holds a Bachelor's and Master's of Music from the San Francisco Conservatory of Music. Sharon is so intimidated by Callas that she runs off the stage. She later returns and Piper demonstrates the soprano’s willingness to have the courage not only to learn from the master but to stand up to her.

Janice Stevens as Maria Callas, Laura Piper as Sharon (Image by: Charr Crail)

Ian Cullity plays the tenor, Tony, who comes on all swagger and confidence. Shortly in to Tony’s performance Callas stops him. There isn’t anything she can teach him. Callas has become very emotional at this point.  Tony it seems has learned about the emotion of what he is singing about.  Sadly the audience doesn't get to hear more of Cullity’s beautiful voice. Those who were lucky to hear Cullity at STC’s Cabaret series know how good he is. He also performs at Artistic Differences Theatre Company.

Janice Stevens as Maria Callas, Ian Cullity as Tony (Image by: Charr Crail)

Michael Wiles' performance as Manny the accompanist would have to be described as very sweet. While properly respectful of Callas, his Manny is not threatened by her. Wiles is also a very good pianist. Wiles is also the musical director of “Master Class.”

He has appeared at Capitol Stage in “Someone Who Will Watch Over Me” and "Fat Pig.” He has appeared on stages throughout Northern California and elsewhere. Wiles has been the musical director and accompanist of more than 70 productions.

Andrew J. Perez plays the stagehand who remains unimpressed by Callas. Perez has been recently seen on Sacramento stages in “Urinetown” (Flying Monkey Productions) and "Junie B. Jones: Jingle Bells, Batman Smells” at B Street Theatre.

“Master Class” is directed by Capitol Stage producing director Jonathan Williams. A founder of Capitol Stage, Williams is also a great actor and very creative set designer. Here he shows off his directing talent.

The staging, supporting actors and especially Janis Stevens’ performance as Maria Callas make this an outstanding production. We not only learn about Maria Callas, we experience Maria Callas.

"Master Class" runs through April 10th. For more information and tickets, visit www.capitalstagecompany.com.