BERMINGHAM IN MASTER CLASS
GIGI by tony reverditto I have seen the Tony-Winning Master Class before
and am fascinated by the backstory and complexi- ties of opera legend, Maria Callas, brilliantly written by Terrance McNally. Born Maria Kalogeropoulos in 1923 to Greek immigrant parents, Callas studied voice under the famous master Maria Trivella in Ath- ens. After successful school performances, a part was offered in Suppé’sBoccaccio at the Royal Opera. Then in 1942 she replaced a sick soprano to play Tosca, after which a contract was offered for La Gioconda in Verona. She gladly travelled to Italy, where she met her future husband Giovanni Battista Meneghini, as well as her mentor, Tullio Serafin. Her sensational vocal ability garnered her world-
wide recognition, yet due to her infamous affair with Aristotle Onassis and subsequent divorce, was
and broken dreams. I was intrigued to speak to actress Gigi Berming-
ham, to find out how she prepares herself in order to capture the essence of such a demanding character.
I know you’re preparing for this extremely demanding role. When did you first get your start as an actress? I did drama in high school, it was my first inspira-
tion. I had a wonderful teacher who taught the method to us 15 and 16 year olds; that totally hooked me. It wasn’t about pretending; it was about being… that is the awakening for what was to be my calling. I went to college and graduated with a degree in Dramatic Arts from U.C. Berkeley. I went to New York for eight years in my 20s and early 30s to try to break into theatre; I never cracked that nut, didn’t have the
“I felt like I could RELATE to her pain and her PASSION and her BELIEF that what she did was a sacred calling.”
vilified in the press. After Onassis’s abandonment and marriage to Jacqueline Kennedy, Callas suffered greatly, contracting a throat disease which compro- mised her vocal quality. She made several attempts to resurrect her career, but never recovered the fame she once held, dying of heart failure in September 1977 at the young age of 53. Master Class picks up before her death, at a point
in which she is trying to escape her inner demons by teaching a group of aspiring opera singers. Unsus- pecting students face the wrath of Maria’s bitter scru- tiny during training sessions—compelling moments when she indirectly reveals her thoughts, aspirations
14 RAGE monthly | MARCH 2013
connections, but did get my equity card. I moved to L.A. and started landing roles, I was a late bloomer. I viewed your reel on your website at
gigibermingham.com; you have played some truly interesting roles. Do you have a favorite? I suppose it would be the multiple characters that I
played in my own solo comedy show calledNon-Vital Organs for which I won the Ovation Award and the L.A. Drama Critics Circle Natalie Schafer Award. What originally attracted you to the hypnotic role of Maria Callas inMaster Class? Well, I am a bit of a diva myself, so I felt like I could relate to her pain and her passion, and her belief that
what she did was a sacred calling. I do identify with that even if it sounds absurdly maniacal, especially her passion about details of the characters in her life. What has been your biggest challenge in learning the intri- cate dialogue, idiosyncrasies and intensity of Maria Callas? We haven’t started rehearsals yet, so I am just in
the preparation stage of doing major research and memorizing this difficult role. Here is the biggest challenge; I wish we had six months lead time rather than one. You are in a web series calledKittens in a Cage, which is a hys- terical satire of the 1950sWomen in Prison genre. The motto is “Bad Girls doing Bad Things in Bad Places.” How in the heck did you get involved in that one? (Laughs)Through Jillian Armenante, the director
and adapter, it was originally a play. She is directing the web-series, currently in production; we’re shoot- ing the first season. I know her because we were cast in a play together a couple years ago, we instantly connected. She is an absolutely hysterical woman and a genius. She thought of me for the matron; my character has a hook for a hand. It’s really funny! What’s next? My husband and I have an on-going cabaret show,
we did Cabaret Noel for a few years and now we are expanding it to a year round cabaret. The theme is designed around the original music written by my husband, Matthew Goldsby and I also sing traditional French songs in the revue.
Master Class runs Wednesday, March 20 through Sunday, April 14 at International City Theatre at the Long Beach Performing Arts Center, 300 East Ocean Boulevard in Long Beach. For tickets and more information call 562.436.4610 go to
internationalcitytheatre.com.
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