Tatler Review: Philippine Opera Company’s ‘Master Class’

Dubbed the "First Lady” of Philippine musical theatre, Menchu Lauchengco-Yulo delivers a staggering, trance-like performance that transforms Terrence McNally’s play ‘Master Class’ into a breathtaking meditation on the gruelling realities and sacred power of art

As part of its milestone 25th anniversary season, the Philippine Opera Company (POC) proudly presented a special production of Terrence McNally’s Master Class. Ran from May 15 to 30, the revival is directed by Jaime Del Mundo and stars Menchu Lauchengco-Yulo, stepping into the formidable shoes of the legendary opera diva Maria Callas.

Set in the 1970s, the play presents a fictionalised account of the actual masterclasses Callas led at The Juilliard School. Throughout the production, Callas commands the stage to critique three aspiring singers, aggressively stripping away their artistic vanity and demanding absolute subjugation to the music and to the truth.

Above Alexandra Bernas as Sophie de Palma in ‘Master Class’ with Menchu Lauchengco-Yulo as Maria Callas (Photo: Myra Ho)

Alexandra Bernas as Sophie de Palma in ‘Master Class’ with Menchu Lauchengco-Yulo as Maria Callas (Photo: Myra Ho)

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Terrence McNally leverages artistic license by temporally displacing recent events and the complex mindspace of Callas into her remaining years. This narrative device fleshes out Callas as a victim of immense ridicule, demonstrating how she used that pain to power through and completely transform herself—and, by extension, forever alter how opera actors must build their characters. It serves as a beautiful, striking reminder of the realities artists face, illuminating how art can simultaneously become a weapon, an avenue, a refuge and, ultimately, a “sacred place”, as reiterated by Callas in one of the scenes.

Although older than Callas was during her actual masterclasses, Lauchengco-Yulo exudes a profound wisdom that only comes with deep artistic experience. She delivers the immense range of emotions required by the material with utmost precision. What is most striking is her sustained intention, especially when the script plunges into Callas’s internal mindspace, where she relives the biting criticisms of the people in her life. In a trance-like state, Lauchengco-Yulo masterfully creates entire characters within the character she is playing—from the crude dominance of Aristotle Onassis to the pleadings of her husband Battista. Despite the stark simplicity of the stage design, she vividly transports the audience into Callas's haunting and triumphant memories.

Above Arman Ferrer as Anthony Cadolino in ‘Master Class’ with Menchu Lauchengco-Yulo as Maria Callas (Photo: Myra Ho)

Arman Ferrer as Anthony Cadolino in ‘Master Class’ with Menchu Lauchengco-Yulo as Maria Callas (Photo: Myra Ho)

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The terrified students in the masterclass are brought to animated, brilliant life by the supporting cast, capturing the clash between modern ambition and old-world discipline.

Alexandra Bernas captures the timidity and unfolding emotional depth of Sophie de Palma, a first soprano tackling Amina in La Sonnambula who must learn to sing from a truly broken heart.

Arman Ferrer brings the requisite bravado to Anthony Candolino, the highly confident tenor singing Tosca, whom Callas forces to ground his beautiful notes in imagination and reality.

Angeli Benipayo shines as Sharon Graham, the second soprano who arrives in a lavish evening gown to sing Lady Macbeth and is brutally pushed by Callas to find her inner mut [courage].

They are ably supported by Louie Angelo Oca as the steadfast accompanist Manny Weinstock, and Del Mundo himself as the indifferent Stage Hand (based on the May 29 show this reviewer watched), who serves as the perfect comic foil to the diva's tempestuous demands.

Above Angeli Benipayo as Sharon Graham in ‘Master Class’ with Menchu Lauchengco-Yulo as Maria Callas (Photo: Myra Ho)

Angeli Benipayo as Sharon Graham in ‘Master Class’ with Menchu Lauchengco-Yulo as Maria Callas (Photo: Myra Ho)

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In the end, Master Class stands as an unyielding manifesto for anyone who dares to create. Callas’s relentless reminder to artists is that there are no shortcuts; there is only "discipline, technique and mut".

Through POC's breathtaking production, we are reminded that true artistry is a rigorous, lifelong devotion to serving the truth of the music, proving that even in the darkest of times, the sacred work of the artist profoundly matters.

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Franz Sorilla IV

Art and Culture Editor, Tatler Philippines

About

Before assuming the Art and Culture Editor position, Franz has always had a penchant for visual and performing arts. He is passionate about exploring and writing about the local cultural scene and rediscovering the country’s storied past and rich heritage. Besides working on this luxury lifestyle magazine, Franz is an avid book reader, local traveller, museum-goer, chorister, and community theatre playwright.

Work

Franz earned a degree in Journalism from the University of Santo Tomas. He writes about local visual and performing artists and their craft; drinks wines, liquors, and spirits and talks about the creativity of their respective winemakers and master blenders; tries to learn more about business and investments; respects the tradition and artistry that go behind the making of watches and jewellery; and appreciates the genius of architecture and creative design.

As head of Tatler Philippines’ pool of writers, he helps them bring impactful and socially relevant stories to light.

For any leads, you may reach him through @franzsorillaiv on Instagram or franz@tatlerphilippines.com via email.

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Menchu Lauchengco-Yulo in ‘Master Class’—a transcendent and piercing portrait of Maria Callas