Terrence McNally's Master Class, ostensibly showing the great singer Maria Callas giving a public demonstration of her teaching three opera hopefuls, gives us one of Broadway's finest actresses, Tyne Daly, as Callas. She's funny, egotistical and sometimes profound, and Daly is splendid in the part.
The piece is nimbly directed by Stephen Wadsworth, with scenic design by Thomas Lynch that takes us a step upward in definition as he creates a concert hall with a minimal insertion. It's well lighted by David Lander and perfectly costumed by Martin Pakledinaz, and pianist/actor Jeremy Cohen is merely wonderful.
Alexandra Silber is cute, girlish, with a really good voice which gets clearer as she is instructed. I felt cheated when she didn't get to sing the aria through, and thus show us the final result. Large, strong Garrett Sorenson is a full opera singer, and his personality quirks are fun. Part of what we, an audience interested in opera, come to Master Class for is to hear good singing, and Sorenson and the third student (Sierra Boggess) really do get to sing. The beautiful Boggess (voice, physiognomy, costume) is a delightful actress and singer who projects a persona with strength, verve and nerve. For me, this was the show - and a really good one.
There are two biographical tangents, an interchange between Callas and Aristotle Onassis in which she plays both parts, and an insertion at the end about the consequences of that relationship, that could be cut from the play. All the rest of it follows the premise of the title. But since this is a revival, it is probably carved in cement as it is, so be patient and have a great time with the rest of it.
