REVIEW: Black Box and Opera Quad Cities Triumph in Thrilling, Revealing “Master Class”
For the past 25 and 10 years, respectively, Opera Quad Cities and Black Box Theatre have both been known for presenting productions and performances of the utmost sensitivity, grace, emotion and class.
Seeing them partner for their latest — the area premiere of “Master Class” by Terrence McNally – is a natural, and an unparalleled, complete triumph in every way. First class, you might say.
The 1995 two-act play was inspired by the real-life master classes conducted by renowned opera singer Maria Callas (1923-1977), at the famed Julliard School in New York in the early ‘70s. The intense, thrilling and revealing play – in which Callas speaks directly to the audience, as the real diva did for the public master classes — has been justly celebrated for its insightful portrayal of Callas, who is depicted as both a brilliant, demanding artist and a deeply flawed, complex person plagued by self-doubt and vulnerability.
Shelley Cooper, right, works with QC soprano Madalynn Baez in “Master Class,” directed by Ron May in a co-production with Opera Quad Cities.
The legendary, polarizing Greek soprano (born in New York City) had not sung in public for six years, and her voice was not the great instrument it once had been. Doing the master classes was a way of overcoming her terror of performing by sharing her wisdom and experience through teaching, to help guide and inspire young singers.
Callas did not allow applause from the audience, saying on one occasion (captured in the play), “None of that. We are here to work.” As perfectly played by the phenomenal Shelley Cooper, we learn about opera, singing, theater and beauty as she instructs three excellent singers — Sarah Lounsberry as First Soprano, Brent Behrens as Tenor, Maddy Baez as Second Soprano. Michelle Crouch is the disciplined, precise on-stage accompanist, with a gleaming black Yamaha baby grand.
Cooper — an award-winning solo artist who has performed her own one-woman play on Callas titled “La Divina” around the world since its 2010 debut, which features her singing – fittingly dominates nearly every minute of “Master Class,” though she barely sings at all. Her haughty, supreme self-confidence is blended strikingly with illuminating flashbacks in which we learn of her doubts, her nerves, her dreams and demons. As I expected, Cooper is completely commanding and affecting in the role.
Callas tells us and her students that careers in music and theater demand complete attention to detail, concentration, courage, and discipline. While some people told the real-life Callas she didn’t have a sense of humor, “Master Class” demystifies both the caustic, blunt (and funny) diva and the art form, and shows us her tender, humane side, as well as the larger-than-life figure who scared others.
Shelley Cooper, who has portrayed Callas in her one-woman show “La Divina,” recreates the famous Greek-American soprano in the area premiere of Terrence McNally’s “Master Class,” at Black Box Theatre through May 24.
The first “victim” in the play is Lounsberry, who in real life has extensive QC theater experience and is a veteran of Nova Singers. We learn that a singer’s performance begins even before a note is sung. Cooper initially stops her after she just gets the first note out, and tells us her to really listen to and reflect the music in its introduction, as well as portraying the character’s broken heart. Callas reveals the heart of opera is to “make us feel what you feel.”
We see Lounsberry’s non-verbal progress, and after she again starts a well-known bel canto aria from Bellini’s “La Sonnambula,” we enter into a magical, mesmerizing reverie with Cooper alone under a single spotlight as the real Maria performs the aria at La Scala. She reminisces about her voice, occasionally lip-synching the recording, and Cooper luxuriates in the memory.
In two such intoxicating spotlit scenes, we learn about Callas’s two tumultuous relationships – with husband Giovanni Battista Meneghini (1949-1959), and partner to Greek shipping tycoon Aristotle Onassis (1959-1968), who later married former First Lady Jackie Kennedy. Cooper is especially emotional and gripping in these cinematic, traumatic settings.
Brent Behrens, accompanied by Michelle Crouch at Moline’s Black Box Theatre.
We also learn from Callas how much detail and preparation goes into performance. For the other students – Behrens doing a famous tenor aria from Puccini’s “Tosca,” and Baez unfurling a breathtakingly impressive piece as Lady Macbeth, in her letter aria from Verdi’s “Macbeth.” She implores the singers to understand exactly what they’re singing about – the setting, the plot, the story, the emotions. For Callas, responding to feelings was paramount, and that’s exactly what draws me in as a fan of opera and music in general.
Behrens (who has been in multiple Opera QC productions) nails the egotistical nature of the stereotypical tenor, who wants to be rich and famous. His aria is beautiful, but Cooper as Callas barely gives him any feedback and he leaves unsatisfied and confused.
The blazing Baez aria is the most satisfying musically and dramatically of the show. She performed the lead role of Mimi in Opera QC’s 2024 production of “La Boheme,” and she certainly has a big, overpowering voice that could easily fill a space 10 times the capacity of the 60-seat Black Box.
One of Cooper’s spotlit flashbacks is with Baez, and the young singer must suffer some slings and arrows of Callas’s outrageous fortune, and Baez angrily lashes out at her.
Sarah Lounsberry in “Master Class.”
The importance and deep humanity of McNally’s play come from the many contradictions in Callas’s life, and the absolute love and devotion she shows for the gorgeous art form that dates back centuries. While she can be harsh, hurtful and oppressive, pushing her students to excel, these moments are balanced with empathy and understanding of their challenges.
Opera QC’s co-founder Ron May (who I know as a veteran teacher, music director and pianist similarly pursues excellence in everything) makes an amazing debut as stage director here. BBT co-founder and artistic director Lora Adams is co-producer/costume and set designer, and Alexander Richardson again serves as light and sound designer.
Shelley Cooper plays Maria Callas in “Master Class.”
May in his program note wrote that this show’s message is “to devote yourself completely to the performing arts with integrity, dedication, and with complete commitment.” Callas’s philosophy here is like another wise classic character, Yoda: she basically says, don’t just try – do it, or don’t do it at all.
“Master Class” will continue May 21, 22 and 23 at 7:30 p.m. and May 24 at 2 p.m. Tickets are $25 and are available at theblackboxtheatre.com. Given the intimacy of the Black Box, Adams and her crew should seriously consider interspersing her schedule with more recitals – instrumental and vocal; it’s an ideal setting.
Maddy Baez sings the letter aria from Verdi’s “Macbeth” in “Master Class.”
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