Date: Fri 17-Oct-1997

Publication: Bee

Author: DONNAM

Quick Words:

Class-Dunaway-Shubert-theatre

Full Text:

(rev "Master Class" @Shubert, 10/17/97)

Theatre Review--

Ms Dunaway Is A "Class" Act

(with photo)

By June April

NEW HAVEN -- Presence . That one word encapsulates the essence of one of the

most legendary of moving forces in the operatic world: Maria Callas. Twenty

years after her death in 1977 her influence is still felt, for she "redirected

opera forward, into the past."

It is through glimpses of her past that Master Class , at the Shubert Theatre

until Saturday night only, paints an image of a woman passionately driven and

devoutly tortured.

Award-winning playwright Terrence McNally received the Tony Award for Best

Play last year with this creation. Actress Faye Dunaway, who performs the lead

in the current stage production, will play "La Divina" in a film adaptation

scheduled to open in 1998.

Callas actually taught a series of master classes in New York City at the

Julliard School of Music toward the end of her career. That, loosely is the

vehicle McNally uses to drive this play. Accuracy is not the issue, but rather

the fervor of Callas' commitment to bring new meanings and drama into the

operatic world.

Particular arias which Callas sang are woven into the play. These especially

relate to her life experiences, and her operatic career. Bellini's "La

Sonnambula," Verdi's "Macbeth" and Puccini's "Tosca" were all roles Callas

raised to new dramatic heights, when she sang them well. Through Bellini's

music is reflected Callas' personal love and manipulative dynamic with the

Greek magnate, Aristotle Onassis.

The scheming, power-hungry nature of Lady Macbeth mirrors the aggressive

initiative that marked Callas' career. And the self-sacrificing Tosca, the

faithful lover with a good heart who takes her own life, might be described as

the way she envisioned her own demise. The truth, be it a heart attack or

suicide, is still a mystery.

The set -- a splendid domed room, sparsely furnished -- is impressive.

Designed by Michael McGarty, it was magically transformed into "the audience

at La Scala Opera House" at the end of Act One. In Act Two it is again altered

by transposing the interior of a stone castle.

The skills of the lighting staff are crucial to the effectiveness of this

production. Noted lighting designer Brian MacDevitt has brought artistic

nuances to Master Class . With this work in particular, it is evident why

MacDevitt has won numerous accolades for his talent.

Director Leonard Foglia guides the cast into believable portrayals. With the

two women students, Callas is more demanding and harsher than with the male

student. Her insecurity with members of her own sex is still a haunting aspect

of her fragile inner person.

Actress Faye Dunaway handles this aspect of the opera star with sensitivity

and power. Her strongest acting is in the second act, where the action overall

is more wide-ranging and exciting. Ms Dunaway's accent was not always

consistent, but certainly held during the longer "speeches" and with the

interactive segments with the audience.

Actually singing along with the students, and as vocal fade-ins with

recordings of Maria Calls, Ms Dunaway proves she can indeed carry a tune.

As the two female students Sophie and Sharon, Melinda Klump and Suzan Hanson,

respectively, sing beautifully and enact their characters with real passion,

humor and understanding.

Tenor Kevin Paul Anderson has sung leading roles in opera companies all over

the world and has rounded tone to his musical range. He blended his role with

a bravado and determination, almost a fallback to the masculine side of the

young Callas.

As the accompanist for the students attending the master class, Daniel Faltus

plays a fine Steinway and says his lines as a sideline participant to all the

action. As the stagehand, a small role, Scott Davidson is totally believable,

proof that it is not the size of the role that counts, but what an actor does

with it.

Master Class is not a play for children. Devotees of Faye Dunaway would

appreciate having the chance to see her act this play, and to then have that

experience to compare to her movie portrayal. For those who want insights into

the world of an opera diva, this is a play to catch.

Master Class will only be at the Shubert Theatre for a few days; Sunday,

October 18 is the last performance. Tickets are available at the Shubert box

office, or call Advantix at 800/228-6622. Prices range from $28 to $50.