Review: MASTER CLASS at Diamond Head Theatre

Wow.

Just…wow!

There is magic afoot at Diamond Head Theatre with the Tony-winning American classic Master Class, penned by the late great Terrence McNally. With beautiful set design (and cameos!) by Randy Tandal, deft direction by Bryce Chaddick, and an incomparable performance by leading lady Amy K. Sullivan, this one is not to be missed.

While the show centers around a semi-fictionalized master class at Julliard with opera legend Maria Callas, it is not necessary to be an opera connoisseur in order to fully appreciate the show. In Master Class, opera functions more as a backdrop and a color palette to paint a story about fame, passion, sacrifice, the highs and lows of human emotion, and the purpose and necessity of art and artists. It is at once a cautionary tale, a modern comedy, and a Greek tragedy (extra fitting as Maria Callas was born Maria Anna Cecilia Sofia Kalogeropoulos to Greek parents). All this to say, this depiction of “La Divina” is universal, and fascinating.

As the show begins, we the audience are immediately “cast” as Julliard opera students, here to observe and learn from Callas as she works one-on-one with three fellow students. The house lights remain on for a time, thrusting us into the world of the show, and making us just as vulnerable to the criticism of Ms. Sullivan’s Callas as she swans around the stage in a tailored pant suit and silk scarf (costume design by Kanani Sato). Ms. Sullivan is domineering, harried, and mercurial, but undeniably passionate and deadly serious about her art and the career that she has dedicated her entire life to. Ms. Sullivan’s brilliance levels up with her masterful ad libs to the audience, a schtick that could go quite badly if executed by a lesser actor or helmed by a lesser director. We are also introduced to pianist Manny, played beautifully by David Young, as well as the Stage Hand, played by scenic designer Randy Tandal, much to the delight of the audience. These two men are the only ones who are not pulled into Callas’ tempestuous orbit, despite her persistent haranguing and the passive-aggressive commentary thrown at them throughout the show. Their neutrality provides a necessary counterpoint to the highly emotional students who have come to seek guidance from the maestra.

As the master class progresses, we see Callas’ life story unfold through a series of surrealistic flashbacks, accentuated by mirrored blocking, projections, sheer curtains, and eerie red lighting (design by Dawn Oshima). Each student seems to trigger memories of different time periods of Callas’ life: too-pure-for-this-world Sophie (Georgine Stark) evokes Callas the Ingenue, self-assured tenor Tony (Kasey Nahlovsky) unearths Callas the Lover, and finally the star-to-be Sharon (the marvelous Anna Young) who opens up the final crack in Callas the Diva’s armor, treating us to an unexpected and powerful denouement.

The vocal prowess of each of these students is undeniable, and it was a delight to see this caliber of artistry on stage. I was especially impressed with the transition between Ms. Stark’s deer-in-the-headlights terror and the beauty of her interpretation of the La Sonnambula aria, Mr. Nahlovsky’s deadpan delivery and his luscious Tosca piece, and Ms. Young’s passionate performance and hysterical delivery of “murder happy!” in her exploration of Lady Macbeth. These three undeniably hold their own even in the face of Ms. Sullivan’s tour de force performance, and the entire ensemble is a joy to watch.

In his “From the Director” section of the program, Mr. Chaddick compares Callas in Master Class to “that one eccentric, if not tyrannical, educator whose glory days were behind her or him, who may have even made your life miserable at the time, but who probably taught you the most.” It is clear that this approach is what he has utilized to walk the tightrope between tragedy and comedy in Master Class, as Callas’ relationship to opera is fraught with both bitterness and joy. And while they do not shy away from the abuse hurled by Callas at her students, we are also treated to the ecstasy of art and the gratification of mentorship, and it is that delicate balance that elevated this show at DHT beyond my expectations.

Bravo, tutti!

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