Daily TribuneFor Menchu Lauchengco-Yulo and Karla Gutierrez, a life on the stage needs courage of spirit. They hope the audience sees this passion as told through Terence McNally’s ‘Masterclass.’
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IN many scenes, Yulo completely loses herself in Callas’ soliloquy about life on highs and the pitfalls of a life on the stage.
Photograph courtesy of Maria Callas
MENCHU Lauchengco-Yulo fully embodies Maria Callas in her performance, driven by the same ideals of passion, discipline, and a deeply-rooted love for their craft.
Photograph courtesy of Paw Castillo
AS a seasoned actress and classically-trained singer, Gutierrez hopes that shows like ‘MasterClass’ will open doors for a greater audience appreciation of opera.
Photograph courtesy of IG/Karla Gutierrez
FOR Karla Gutierrez, the goal of the Philippine Opera Company is to give the audience easier access to and a greater appreciation of opera.
Photograph courtesy of IG/Karla Gutierrez
Maria Callas once said, “An opera begins long before the curtain goes up and ends long after it has come down. It starts in my imagination, it becomes my life, and it stays part of my life long after I’ve left the opera house.” This statement aptly describes the creative lives of actresses Menchu Lauchengco-Yulo and Karla Gutierrez
— the two women who are the driving force behind Philippine Opera Company’s (POC) production of Terrence McNally’s Masterclass, which opened over the weekend. Lauchengco-Yulo takes on the central role of the iconic opera singer Maria Callas as she conducted a series of masterclasses at the Julliard School in New York in the 1970s. This show marks a major milestone for Gutierrez, who founded POC in 1999, as it closes out their 26th year of bringing opera to a much larger audience.
Early stage years
In their early years on the stage, both Lauchengco-Yulo and Gutierrez were part of Repertory Philippines’ roster of artists. Under the tutelage of Rep founders Zenaida “Bibot” Amador and Baby Barredo, they learned the art of the craft — from all angles. Going through a rigorous schedule of rehearsals by day to doing a show come evening, they quickly learned the value of discipline, and delivering their very best each time. “I remember Tita Bibot would tell us that we always had to strive for excellence in everything,” says Lauchengco-Yulo. Gutierrez echoed that sentiment, sharing “Which is why, to this day, we are never late to anything. The one thing we feared then was the elevator opening, and Tita Bibot would be in front of it.” But each rehearsal under Amador and Barredo, their skills were honed both on and off the stage, learning what a “life in the theater” really looks like, even beyond the klieg lights.
As both actresses moved on to other pursuits, working with various theater companies, and eventually building their own, they carried this commitment to excellence with them. It then became the foundation of their own vision of the craft. As a classically-trained singer (mentored by no less than Fides Cuyugan-Asensio) Gutierrez found her voice, literally and figuratively speaking, in the world of opera, with the Philippine Opera Company. Celebrating the fusion of music and drama, Gutierrez continues to champion opera as a living, relevant, and inclusive art form for Filipinos. Despite what a certain American actor may think. One of POC’s most beloved shows is Harana, a musical revue and cultural production celebrating the evolution of Philippine music, which is staged every couple of years.
On the other hand, Lauchengco-Yulo channeled this passion and discipline into one of the most stellar careers in Philippine theater. Considered to be the “First Lady of Philippine Theater,” her name on a marquis has become synonymous with excellence. While she took a break from performing full-time in favor of motherhood, doing only one show a year.
“That season allowed me to fully pour myself in the role I was doing at the time,” shared the actress. “To explore who they were and what I had to do to best bring them to life on the stage. I learned quite a bit about myself as an artist during that time.”
From playing complex roles like Fosca in Passion, Diana Goodman in Next To Normal, Mrs. Lovett in Sweeney Todd, Lauchengco-Yulo is a generous actor who is admired by her peers. In her work as a director, she is a focused creative who handles her artists with a collaborative yet firm approach, allowing for respect for the craft to flow both ways.
A shared love
This shared love for the craft is the reason why this production of Masterclass resonates so loudly with these two women. Maria Callas, even when she had lost her voice, never lost her passion for opera, and the artistry behind it. Through her masterclasses in the 1970s, she hoped to pass this knowledge on to the students who came into her classroom. Taking on this role was a huge challenge, even for a veteran actress like Lauchengco-Yulo, beyond playing such an iconic character. “In this show, Callas jumps from teaching her students to getting lost in her own thoughts,” she explains. “Her monologues are not only long, but also deeply emotional. I had to get into her head.”
Drawing parallels between the life of Maria Callas, and the creative path that Menchu Lauchengco-Yulo and Karla Gutierrez are forging as actresses and artists, both have been built on the discipline and heart that has been instilled in them by their mentors. Lessons that they strive to instill in the next generation of performers, albeit with a much gentler hand, as mentors themselves. But the lessons they intend to keep teaching remain the same — that while the pursuit of art is driven by passion, it is commitment, hard work, and bravery that makes it resplendent. As Maria Callas herself says, “When the curtain rises, the only thing that speaks is courage.” In Philippine Opera Company’s production of Terence McNally’s Masterclass, Gutierrez and Lauchengco-Yulo present proof of concept of it.
The Philippine Opera Company’s production of Terrence McNally’s Masterclass runs until 30 May at the Carlos P. Romulo Auditorium, RCBC Plaza. Shows are at 8 p.m. on Fridays and Saturdays, with weekend matinees at 3 p.m. Get your tickets at Philippine Opera Company at 09176452946 or at Ticket2Me.
