Terrence McNally’s “Master Class” Revived on Broadway

A play about an operatic master class may sound like a lackluster experience to any theatergoer not completely infatuated with opera. What dramatic interest is there in a group of young singers being critiqued by an operatic veteran, even if it is famed diva Maria Callas? But Terrence McNally’s play Master Class goes far beyond depicting the goings-on in one of these sessions common in the world of opera. Instead, McNally uses the setting to communicate the story of one of opera’s most celebrated prima donnas. Although the play includes many memories from the diva’s professional and personal life, to consider it as only a biography would be to miss its true essence. Master Class reveals the struggles encountered in seeking success in one’s career and examines the sacrifices one must make in achieving these goals. When I heard that a revival of this play was being directed by Stephen Wadsworth on Broadway after a successful run at Washington’s Kennedy Center, I jumped at the chance to see it.  The new production will play a limited engagement at Manhattan Theater Club’s Samuel J. Friedman Theatre during the summer of 2011. I attended an early preview performance on Saturday June 18.

The poster for "Master Class"

Portraying the larger-than-life personality of the diva, Drama Desk, Tony, and six-time Emmy-award winning actress Tyne Daly embodied every aspect of the character. Ms. Daly did not simply act like Maria Callas – she was Maria Callas. Her every gesture, voice, and mannerism led the audience to believe Callas had been resurrected before them. Ms. Daly excelled in every component of the character. On countless occasions she was hilarious, though she never played her lines for laughs. Yet the highlights of her performance were two fifteen-minute-long monologues at the end of each act accompanied by live recordings of Callas performances. In these places, the audience sees deep into the life of Madame Callas as she gives voice to the memories and influential people from her past, most notably her former lover Aristotle Onassis. It almost seemed that these memories were Ms. Daly’s own. One could easily forget that she was acting.

In this fictional master class, the Callas character gives guidance to a tenor and two sopranos. The acting capabilities of these performers varied, yet all three delivered well-rounded performances. As the young soprano Sophie De Palma, Broadway debutante Alexandra Silber captured the naiveté and inexperience of her character.  Although the play does not give the role many lines to sing, Ms. Silber’s pleasant voice was evident.

As the humorous “Tony the Tenor”, Metropolitan Opera comprimario Garrett Sorenson also is making his Broadway debut. Mr. Sorenson’s acting was a bit overstated for my taste, but many of his lines had the audience full of laughter. However, when singing the aria “Recondita armonia” from Puccini’s Tosca, Mr. Sorenson demonstrated that his true talent lies in his singing ability and potential as an operatic leading man.

The set for "Master Class"

Sierra Boggess, returning to Broadway after starring in The Little Mermaid, delivered the most complete performance of the three as the soprano Sharon Graham. Ms. Boggess’s acting was quite convincing, and the intensity of her showdown with Callas in the final moments of the play left me stunned.  Despite the character’s early self-doubt, she is able to find the courage to resist Callas’s overpowering influence. Ms. Boggess was able to express a wide range of emotions and portray the character’s growth over the course of her time onstage. Ms. Boggess also poses a beautiful operatic voice.  She delivered a powerful rendition of Lady Macbeth’s letter scene from Verdi’s Macbeth.

Jeremy Cohen as the accompanist Manny delivered a well-acted performance as the addressee of Callas’s beliefs about singing and the world of opera. In addition, Mr. Cohen exhibited his proficiency as a pianist when accompanying all three singers. Clinton Brandhagen as the stagehand completed the ensemble with a few notably humorous appearances.

The production by director Stephen Wadsworth was furnished with Thomas Lynch’s understated sets, which provided a perfect complement to the onstage action. Mr. Wadsworth, with numerous theater credits under his belt, also has directed in some premier opera houses, and clearly understands the world of opera. His direction was never heavy handed, and all the acting seemed natural. One especially effective touch came during Callas’s two monologues. The master class set would glide off the stage, and images of an opera house would appear. This focused all the attention on Ms. Daly and provided her with the freedom to work her theatrical magic.

Tenor Garrett Sorenson (Left) and director Stephen Wadsworth (Center) discuss "Master Class"

This play is a must-see for any opera connoisseur, but I especially recommend it for young singers aspiring to a career in opera. Over the course of the two hours, the Callas character reveals her opinions, not only about singing, but also about how to be a singer. She explains that a singer must not only sing the notes, but embody the character, understand every word and action indicated in the libretto, and fully commit him or herself to the role. Also, Callas’s commentary demonstrates how one must be dedicated to one’s art and success. Although the play implies that Maria Callas practiced her art too aggressively – one student shouts “I don’t want to be like you…I don’t want to lose my voice in ten years!” – it asserts that the life of an opera singer, or any dedicated artist, requires considerable determination and sacrifice.

Excerpts from this production of Master Class:

This play is a fascinating take on the life of Maria Callas and an intense view into the world of opera.  It is not only a great play about opera; it is an enthralling piece of theater with a talented ensemble cast and a superb leading lady.

Terrence McNally’s Master Class officially opens on July 07 and runs through August 14. For more information, click here.

The cast and creative team discuss Master Class:

An interview with playwright Terrence McNally:

And for another video of McNally discussing his play click here.

And here is opera writer Fred Plotkin’s take on the lead role in Master Class.

As always, please comment below or e-mail me at cbrowner@taftschool.org

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