Divas Unleashed

The occasion is a charity benefit recital, the goal of which is to raise money to support an important but mysterious cause. The recital is given by a former rising-star soprano, Miss Pamela Hamilton-Ford. She is making her triumphant return to the stage, having been absent from the world of opera for over a year. Moments before the performance begins, the role of emcee is thrust upon the asthmatic accompanist,
Mr. Hayes, who wonders aloud if perhaps the soprano has spent some time in rehab. Not long into her recital, Miss Hamilton-Ford is interrupted by the arrival of an enthusiastic and naïve French mezzo-soprano, Marie Dubois. Mr. Hayes apologizes, as he awkwardly announces that the singers have been double-booked for the same benefit recital. But Miss Dubois proclaims to be thrilled and honored by the unexpected chance to share the stage with Miss Hamilton-Ford, whom she greatly admires.

The benefit recital, punctuated by various classic opera arias and duets run amuck, gradually escalates into a fiasco. Miss Hamilton-Ford makes many desperate attempts to regain control of the stage, her dignity, and her recital program. However, her strategies are thwarted by Miss Dubois' overzealous efforts to help the cause and earn the approval of her idol. Caught in the crossfire of the two singers, the meek Mr. Hayes continually works to smooth things over, for the sake of the cause and his career. By the evening's end, artistic differences have culminated in a bravura fight, as the singers battle each other both musically (using their voices and instruments), and physically (using stage props, which conveniently include swords). Finally, peace is restored for the cause, but not before one character becomes an unfortunate casualty in this comic tribute to the healing power of art.

The operatic comedy duo Divas Unleashed resulted from a conversation between two opera singers about the often ridiculous behavior of those in the opera industry. It didn't take long for singers Maria Todaro and Michelle Jennings to conclude that there was simply too much comedic material found in the real-life stories of opera singers not to write a show about them. Thus, the idea for the show, The Benefit, was born. The Divas enlisted the help of writer Karl Tiedemann (NBC's Late Night with David Letterman) and fight choreographer Rick Sordelet (Aida, The Lion King, Curtains, on Broadway; Cyrano at the Met, Royal Opera House, La Scala), to lend their talents to the project. The Divas' passion for opera, musical antics, stage combat, and physical comedy are all packaged neatly in this self-contained, 45- or 75-minute operatic play.

Enjoying a diverse career, New York soprano Michelle Jennings sang Nella in Gianni Schicchi, with Salt Marsh Opera in Connecticut, Johanna in Sweeney Todd with LOOK Theater in Oklahoma, was soloist for Broadway on the Lawn at Ocean House, Rhode Island, and was soprano soloist for Mahler’s Symphony No. 2 with Hudson Valley Philharmonic in Poughkeepsie, NY, in 2014. Ms. Jennings is also a fan of contemporary music and performed lead roles for many premiers of operas, including The Offshore Pirate and Ophelia by Joel Weiss, and Benedicta by Milton Granger. (link hidden)

Born in Paris, France, to a family of singers, mezzo-soprano Maria Todaro has been surrounded by music since her earliest memories. After performing opera and recitals in Europe, Ms. Todaro made her debut in the US in two recitals for the TODI Music Festival in Virginia. Most recently, she has sung the title role in Carmen with the Westfield Symphony in New Jersey, Leonora in Il Trionfo del Onore,” (Scarlatti) in New York City, and Rosina in The Barber of Seville with the Phoenicia International Festival of the Voice. (link hidden)

"The Benefit," is a very portable show, which can be easily adapted to virtually any space. The show has been performed in outdoor bandshells, churches, and theaters.

Technical requirements listed below are for ideal theater settings for 75-minute version of the show, with a minimum stage area of 20 feet wide by 20 feet deep, ceiling clearance of 10-12 feet.

1 piano (grand is ideal) ambulatory access between stage and audience
1 exit left and right 1 follow spot (optional)
1 traveler (ideal) 3 gobo lights (optional)
1 cyc (optional) 2 light trees (optional) or bank of lights