Dan McGeachy directs Nashville actress Pat Rulon as Maria Callas in Terrence McNally’s Master Class, opening this Friday night, January 20, and running through January28 at Darkhorse Theatre. Following the run at Darkhorse, the production will be revived in February, for a special two performance run February 10 and 11, appropriately, at Nashville Opera’s Noah Liff Opera Center.
McNally’s Master Class, which McGeachy previously directed in a production for Circle Players some years ago, features incidental music by Verdi, Puccini and Bellini, and focuses on Callas and her interactions with three aspiring opera singers during “master classes” conducted by the diva late in her career.
An award winning classic, Master Class won both the 1996 Drama Desk Award for Outstanding New Play and the 1996 Tony Award for Best Play. At its core it is a lesson in life with the diva Maria Callas—a glamorous, commanding, larger-than-life, caustic and, surprisingly, drop-dead funny pedagogue—holding a voice master class.
The play is loosely based on Terrence McNally’s actual experience of attending a series of master classes given by Maria Callas at Julliard in 1972. In the play, Maria, alternately dismayed and impressed by the students who parade before her, retreats into recollections about the glories of her own life and career. Included in her musings are her younger years as an ugly duckling, her fierce hatred of her rivals, the unforgiving press that savaged her early performances, her triumphs at La Scala, and her affair with Aristotle Onassis. The play culminates with a monologue about sacrifice taken in the name of art.
Playing opposite Rulon as Sophie, the first soprano, is her daughter Emily Apuzzo, a well-known actress and singer in her own right, who is a member of the Nashville Opera Chorus. Jennifer Whitcomb-Oliva plays Sharon, the second soprano, and L.T. Kirk is cast as Anthony Candolino. John Todd doubles as musical director for Master Class and plays Manny, the accompanist. Patrick Goedicke completes the cast as a stage hand.
With such a small, focused cast and crew, camaraderie abounds as the company immerses itself in “hell week” aka “tech week” prior to this weekend’s opening. Yet, somehow, they’ve pulled themselves away from the hell of tech week to give us some insight into the production.
Next up is Emily Apuzzo, Rulon’s oldest daughter (the younger, Sofia Apuzzo, is an acclaimed dancer), who has the unique experience of playing opposite her mom in bringing McNally’s play to the stage. A noted opera singer in the Nashville area, she’s been featured as a soloist in many concerts and recitals in addition to her work with the Nashville Opera chorus. She’s also been a fixture on a variety of local stages throughout her life: Clearly, the Rulon-Apuzzos are a theatrical family and Pat, Emily and Sofia have appeared in numerous stage productions over the years.
What's been your biggest challenge in bringing Master Class to the stage? My character, Sophie, and I approach music very differently. Sophie is not a very confident or even prepared performer. When I sing the aria in the play, I have found it challenging to find the right balance of Emily and Sophie. I have to be confident as Emily that I am playing Sophie's lack of confidence correctly.
What's your favorite Maria Callasism? What advice does she offer to her "students" that strikes most closely to home for you? "You don't have a look. Get one." Maria is very aware of the importance of one's appearance. Looking at her own experience with her significant weight loss and the specific look she developed, we see why it matters to her and why it should matter to us.
Why should people come see Master Class This play, like opera in general, takes you on a roller coaster of emotions. There's humor in her interactions with the students; there's despair in her recollections of her past; and then there's everything in between. I believe everyone will find something that speaks to them.
