Master Class is a pyrotechnical theater—fireworks in a contained space where Maria Callas is brought back to life in Sturm und Drang. Inspired by a series of master classes the great diva conducted at Juilliard toward the end of her career, this drama puts Maria Callas at center stage again as she coaxes, prods, and inspires students—"victims" as she calls them—into giving the performances of their lives while revealing her own. As she slips off into memories, we experience her days at La Scala, her marriage to Meneghini, and her great doomed love for Aristotle Onassis. But the dazzling theatricality comes from Callas's emotional explosions, her cutting wit, and the soaring music as each student sings an aria that exposes the Divina's vulnerabilities ... and her genius.
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Terrence McNally is the author of numerous plays, including Love! Valour! Compassion! (winner of the Tony Award for best play), The Ritz, and Frankie and Johnny in the Claire de Lune, which was made into a feature film starring Al Pacino and Michelle Pfeiffer, and the books for the musicals The Rink, and Kiss of the Spider Woman (winner of the Tony Award for the best book of a musical). Other successes include Lips Together, Teeth Apart and The Lisbon Traviata. McNally has received two Guggenheim Fellowships, a Rockefeller Grant, and a citation from the American Academy of Arts and Letters. He also serves as vice president for the Dramatists Guild, the national orgainzation of playwrights, composers, and lyricists. He lives in New York City.
"McNally's love letter to Callas ... succeeds brilliantly."
—Los Angeles Times
"His best script so far—sparkling, rich and mercurial."
—Wall Street Journal
"A play of notable wit, humanity and insight ... captures the transcendent experience. ... You share, for a moment, in the making of art."
—Philadelphia Inquirer
"Funny and moving. ... An homage to teaching as well as to Maria Callas, Terrence McNally's beautiful new play is set at Juilliard during one of La Divina' famous master classes."
—Variety
"Howlingly funny and uncommonly perceptive about the irrational entertainment we call opera. ... Resounds with the ring of truth."
—San Francisco Examiner
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