REVIEW: ‘Master Class’ looks misguided

Tyne Daly portrays diva Maria Callas in Manhattan Theatre Club’s Broadway revival

BY MICHAEL SOMMERS

NEWJERSEYNEWSROOM.COM

BROADWAY REVIEW

A compelling look at a legendary opera singer, Terrence McNally’s play “Master Class” was inspired by sessions taught at the Juilliard School by Maria Callas late in her life.

The original 1995 production won Tony Awards as best play, for Zoe Caldwell’s stunning portrayal of Callas and for Audra McDonald’s featured performance as one of the diva’s so-called “victims.”

Manhattan Theatre Club’s disappointing revival, which opened Thursday at the Samuel J. Friedman Theatre, is not likely to win anybody anything.

McNally’s play remains an effective work, but the so-so production scarcely does it justice.

A good actress bravely stretching herself here, Tyne Daly is a specialist at working-class women and she registers best in depicting the staccato Callas’ earthy and humorous traits as she grills and goads three aspiring singers who anxiously perform for her. But when the play moves beyond the classroom and Callas drifts off into memories of her great triumphs at La Scala and the long, rocky liaison she shared with Greek mogul Aristotle Onassis, Daly is scarcely so convincing as a tormented artiste.

Her Irish features heavily made up to resemble Callas, Daly provides a believable European accent and a confident, imperious aura but she never projects the electrifying sense of divine madness that drove the singer to recklessly scale the heights of stardom.

The performers who competently play Callas’ students don’t make much of an impression. Alexandra Silber is the clueless frump, Garrett Sorenson is the good-natured tenor and former Little Mermaid Sierra Boggess is the harried soprano who eventually tells off Callas. Jeremy Cohen capably and quietly portrays the apprehensive young pianist who accompanies the singers.

The relative flatness of the revival can be attributed to Stephen Wadsworth’s mediocre staging. A notable director of classical theater – and a major figure in the splendid Mariveaux rediscoveries of the 1990s – Wadsworth does not appear to be so adept at interpreting contemporary works. The slightly larger-than-life naturalism that “Master Class” requires from its actors eludes his production. Similarly, designer Thomas Lynch’s setting, which supplies a handsome, wood-paneled stage for the singers, fails to evoke satisfactorily the twilight place where Callas dwells upon her former glories.

“Master Class” continues through Aug. 21 at the Samuel J. Friedman Theatre, 261 W. 47th St., New York. Call (212) 239-6200 or visit www.manhattantheatreclub.com.