Zachary Anderson and Irene Glezos Photo by Alex Mongillo

I saw the original Broadway production of Master Class four times (and with four different leading ladies), so there are certain expectations I bring to each new presentation. Needless to say, without a charismatic star at its center, this play would never begin to work. With Glezos, this Master Class is a winner, a must-see if only to watch this actress in action.

If this production is a bit less funny compared to previous versions, it more than makes up for that in sheer vitality and a certain degree of terror. From moments where Glezos is seen drinking a glass of water to moments when she is simply addressing the onstage pianist (the excellent Zachary Anderson), this is a committed, carefully crafted portrayal that feels unlike anything I have seen before. In a wonderful black outfit (perfectly designed by Diane Vanderkroef) and wearing rather large glasses, Glezos can be downright scary. But there is also a degree of vulnerability that she brings to the part, and the nuances throughout are striking and expertly delivered. This is certainly a performance to be reckoned with.

The wonderfully designed set (by April M. Bartlett), featuring beautiful wooden décor, is the perfect space for Callas to instruct each student (whom she also slyly refers to as her "victim"). Emily Solo is terrific as Sophie, the first soprano, bringing a gorgeous voice to the show. There is a degree of comedy in her performance, which is most welcome, and her scenes with Glezos are the funniest in the show. Jim Schilling is also very amusing as the stagehand who comes out to give the diva her footstool and pillow, and he makes a lot out of this tiny role.

In the second act, the show features a tenor named Tony, who brings more than a bit of attitude to the stage. In previous productions, this role has always felt like something of a diversion and a way of changing the tone of the play. But Constantine Pappas brings such genuine star quality and a thrilling voice to the part of Tony that his ten minutes onstage stand out more than any other time I have seen this show. Pappas was recently masterful in the Broadway musical Harmony; he is truly an actor to watch.

Heidi Giberson is fine as the last student, Sharon, who has the second largest part in the play. Giberson is all you could ask for in this role and, like her fellow performers, she is dazzling vocally. The relationship between Callas and Sharon molds the final part of the play. To say that these two actresses spark fire is to put it mildly, with Giberson standing up to the imposing Glezos.

In between her interactions with the students, Callas has two interior monologues where the audience finds out quite a bit about the opera diva. During the first monologue, the fantastic lighting designer RJ Romeo presents a vivid projection onto the stage, making the audience almost makes one feel that they are at La Scala about to watch Maria Callas perform. The effect is thrilling, as a recording of the real Callas singing plays through the theater's sound system.

This Master Class does full justice to the legendary diva and one hangs on every moment in this production. Master Class is highly recommended at Music Theatre of Connecticut and don't be surprised if you are more than a bit moved by this show and the estimable star at its center.

Master Class runs through September 29, 2024, at Music Theatre of Connecticut, 509 Westport Ave., Norwalk CT. For tickets and information, please visit www.musictheatreofct.com.