What is the author's style in Master Class by Terrence McNally?

Both acts share the same basic structure. In its essentials, act one consists of Maria's interaction with the first student, the soprano Sophie de Palma, followed by a long monologue in which Maria recalls events from her life. In the original New York production, Zoe Caldwell, who played Maria, stood alone in the light on a darkened stage for this reminiscence, which includes her relationship with Aristotle Onassis, during which he asks her to bear his child, and one of her great triumphs at La Scala. As La Scala is recalled, the interior of the famous opera house is projected on the back of the stage. The entire reminiscence is accompanied by a recording of the historical Maria Callas singing the same aria (Amina's from La Sonnambula) that Sophie has been attempting. Act two contains Maria's session with the second young soprano, Sharon Graham, which is split into two sections, before and after her session with the tenor, Anthony Candolino. This act reaches its climax with the same device that was used in act one. It is an even longer monologue this time, as Maria imagines herself in an earlier period of her life, in her first marriage, then again with Onassis, and finally once more at La Scala, although in different circumstances. Continuing the parallelism with act one, she recalls how she became pregnant with Onassis's child (just as he had asked her to in act one). The final parallel is that, as in act one, a recording of Callas plays, and again she is singing the same aria (Lady Macbeth's) that the student had been attempting. The transition is effected through a change in lighting.