Theatre Review | “Master Class” at Sierra Madre Playhouse

(L-R) Joshua Foy (Accompanist (Manny)), Francesca Ling (Second Soprano (Sharon)), Joan Almedilla (Maria Callas) (Photo – Jason Williams)

For most lovebirds or hallmark enthusiasts, February 14th was commemorated with a romantic candlelit dinner… For me, the smitten thespian, I celebrated at the Sierra Madre Playhouse for their opening night of Master Class by Terrance McNally.

By Natalia Rose

Terrance is referred to as “the bard of American theatre” for his natural, well-rounded writing style of American life. Among his collection of awarded works, such as Ragtime, lies a stirring story about a fictional master class taught by the veritable opera star, Maria Callas. Compared to the recent cinematic biopic, Maria, I wholeheartedly urge audiences to travel to the Sierra Madre Playhouse to view, what I believe, is the superior chronicle of this soprano icon; if not only for the vivid performance of Joan Almedilla, then for the ingenious decision to appoint Master Class as the closing production of the Playhouse’s “Lunar New Year’s Series.”

The Lunar New Year is an annual, typically Asian, holiday that begins with the new moon between Jan 21st to Feb 20th and utilizes one of twelve symbolic animals to represent the values of each new year. The animal of 2025 is the snake, which is, like the story of Maria Callas, connected to qualities of wisdom, charm, ambition, and rebirth.  Those born in the year of the snake are thought to “do whatever it takes to accomplish their goals” which is one of the many messages Terrance McNally is begging people to hear in his Master Class. “A singer must be willing to die on stage every night” and “The voice is the instrument of the soul” are two of the most notable quotes from Master Class. Indeed, both concepts were upheld by the carefully crafted performances of Maria Callas’s students: Joanna Kim, Kurt Kanazawa, and Francesca Ling.

Joanna’s gentle soprano voice greeted the audience like falling snow, elegant and controlled. Kurt’s regal tenor voice left the listeners proud as he journeyed from pure technique to pure vulnerability and courage. Lastly, Francesca’s agile and charismatic soprano voice turned the small Sierra Madre playhouse into Milan’s La Scala, successfully executing tricky vocal runs and Maria Callas’s signature bel canto singing style. The live opera was complimented by the tasteful sound design by Joshua Foy, who provided us with tender recordings of La Divina herself.

Most of the show is one long monologue memorized by the Broadway star Joan Almedilla, who somehow turned two hours of talking into dynamic bliss. To any reluctant readers who prematurely judge Master Class because of a disregard for opera or the impassioned pedagogical approach, then I would say that Joan is speaking directly to you when she says, “People are forgetting how to listen,” she recites, “if you can’t hear me, it’s your fault.” With the delightful leadership of Tim Dang, Joan proves to the audience what it means to listen, to love fully, and the essentiality of artists in society.  As a thespian myself, I walked away actually believing the phrase, “What we do matters” and what a gift that is, to matter.

(L-R) Joshua Foy (Accompanist (Manny)), Kurt Kanazawa (Tenor (Tony)), Joan Almedilla (Maria Callas) (Photo – Jason Williams)

Master Class
Directed by Tim Dang
Music Director: Joshua Foy (also appears as Manny, the accompanist)
Scenic Design: Christopher Scott Murillo
Lighting and Projection Design: Lily Bartenstein
Stage Manager: Joshua Payuan-Cruz
Cast: Joan Almedilla, Joanna Kim, Francesca Ling, Kurt Kanazawa, Joshua Foy, Ricardo Mota, Mariah Rae, Kit DeZolt.
Through March 9, 2025
Sierra Madre Playhouse
87 W Sierra Madre Blvd.
Sierra Madre, CA 91024
(626) 355-4318
Tickets: sierramadreplayhouse.org.
Free parking behind the theatre.