Masterclass

If you haven’t yet seen this Australian production of Masterclass, you are missing the Charisma of Callas channelled through the Magic of Mercedes.

It’s serendipity that that the two share the same first name, for it’s hard to imagine anyone more perfect to play the role of the opera Diva in this play based on some vocal master classes that Callas held at the Julliard School of Music in the 1970s. Mentioned as a note of interest in various places, but not given the weight it deserves, is the fact that Maria Mercedes is the first Greek actress to play the Greek legend. She understands the passion, the tragedy (perceived or real), the angst that drove Callas. One could say she was born to play this role, and she doesn’t just play Callas….she becomes her.

Terrence McNally’s play is ostensibly a set piece for a star, but it’s also a marvellous insight into the workings of a woman who was an Icon (and knew it), but was filled with the doubt and vulnerability of a girl who was too fat and not pretty enough. But it’s also an interesting play, faithful to the way Master-classes work and with real insight into what is needed to become a star. Played in (virtual) real time, one might be tempted to see the other characters as mere dressing for a one-woman show. One would be wrong!

Daniel Lammin has done a fine job with his actors/singers…and assembled a marvellous cast for the job.

Cameron Thomas brings his versatile and excellent music skills to the role of accompanist Manny Weinstock, and is totally convincing as the quiet Jewish pianist. Georgia Wilkinson, as the first student to be decimated by Callas, is excellent as the nervous and uncertain Sophie de Palma, but it is her glorious voice, pitch perfect and with the purity of a crystal bell, that is transporting. She is an amazing talent. Teresa Duddy is suitably brittle and confronting as Sharon Graham, the student who wants too much too soon, but there is a weakness in her upper register which is telling in her aria. Nevertheless she’s a commanding presence. Blake Bowden –as Tony Candolino, the vain, posing tenor, has a tendency to play OTT with the mugging, but there’s no denying the lyrical beauty of his voice. And then there’s Maria as Maria; and, although it is not a singing role, Mercedes gives us two bars of an aria in her full soprano and makes the heckles on the back of our necks stand up, so laden with passion and nuance is it. Callas and Mercedes are both great actresses; and while one is always conscious that Callas is giving a performance in Masterclass, one forgets entirely that Mercedes is - her Callas comes entirely from a place of truth, not acting. It is superb performance on all levels…a Masterclass in itself.

Brendan Jellie’s lighting is excellent; though largely accoustic, what sound there is James Hogan handles with aplomb….though the background arias could be turned down half a notch and a slight damper in the Grand Piano when underscoring would allow for more clarity of dialogue at times. Producers Cameron Lukey and Michele Bauer both have a background in opera and it’s a master stroke that they have cast opera singers in the supporting roles.

Finally, the venue…..45 Downstairs often suffers from being an unsuitable

and difficult venue. Not so here. It is PERFECT as the studios in the foremost Music Conservatory in America, steeped in atmosphere and history and shabby decay.

It’s Ms Mercedes night ultimately, but it’s also a beautiful night of fine theatre magnificently realised.

Coral Drouyn

Photographer: Clare Hawley