A Masterful 'Master Class' from Tyne Daly

Sierra Boggess as Sharon Graham and Tyne Daly as Maria Callas in “Master Class.” Photos by Joan Marcus.

BY TAMARA BECK

TYNE Daly has nothing to prove. She’s had a glorious career. She’s been on television in an iconic and Emmy-winning series, on Broadway in musicals and dramas and has a Tony and Tony nominations to her credit.

Yet in the revival of Terrence McNally’s “Master Class,” TD proves that she is capable of creating an impressively distinguished portrait in a role that is so completely against type for her.

As Maria Callas in “Master Class,” currently in a Manhattan Theatre Club production at the Samuel J. Friedman Theatre through 4 Sept., TD shatters her usual persona as a kind of everywoman, down to earth, matter of fact; she wholly owns a role that on the surface seems like it’s not tailor-made for her strengths. (See video at http://www.youtube.com/watch?v=eEy9kV5M86g&feature=player_embedded)

As a matter of fact, TD is transformed; she doesn’t just act the part of Maria Callas, she is the late, great opera singer. The play is based on an actual event. Maria Callas – a diva past her prime and powers, who is depressed, self-aggrandizing, and so self-absorbed that she lacks all sensitivity – was invited to give a series of voice classes at Julliard in 1971.

TD embodies Callas in a grueling near-monologue. She engages the audience as participants in her “Master Class,” abuses the students she is meant to instruct, and indulges in reveries in a series of flashbacks to her life with Ari aka Greek billionaiare Aristotle Onassis.

Anthony Condolino (Garrett Sorenson) is Maria Callas' (Tyne Daly) star pupil in "Master Class."

The foil for the over the top, over-the-hill luminary, is Emmanuel Weinstock (Jeremy Cohen), her pianist for the lessons she is giving. Callas is kind only to the tenor, Anthony Condolino (Garrett Sorenson), who comes to one of her sessions. GS is particularly endearing in his talented presentation before Callas. Rounding out the cast are two young singers who each get short shrift. While Sophie De Palma (Alexandra Silber) folds under Callas’ gaze, Sharon Graham (Sierra Boggess) bravely stands up to her mistreatment.

Even though “Master Class” offers gossipy and tabloid-driven insights into Callas’ life, TD takes the highlights in the text to give a performance worthy of Greek tragedy. Her Maria Callas is the ultimate woman scorned, she is abandoned by her profession – banned from the opera house, La Scala, in one of many famous feuds. Her lover, Ari, leaves her for a bigger prize in the widow and former First Lady of the United States, Jackie Kennedy.

Despite her troubles, though, Callas is still full of fire and determination, as is "Master Class."

Visit http://http://www.manhattantheaterclub.com/ to learn more about “Master Class.”

In 'Good People,' Past Intrudes on Swell Life

Frances McDormand as Margaret Walsh and Tate Donovan as Mike Dillon are old sweethearts in "Good People. Photos by Joan Marcus.

BY TAMARA BECK

“HE’S good people” doesn’t so much refer to the decency of the complimented as it suggests, “he’s one of us.”

The titular “Good People” in David Lindsay-Abaire’s new play in an extended run through 29 May at the Samuel J. Friedman Theatre is Dr. Mike Dillon (Tate Donovan). He is a success story from the poor South Boston neighborhood.

Mike Dillon left “Southie” to go to college. He has returned to Boston not only as a doctor, but to a house in the fancy, affluent Chestnut Hill section of the city. The good people he has left behind in the old neighborhood lead hardscrabble lives. Among them are Margaret Walsh (Frances McDormand), an ex-girlfriend, and her friend Jean (Becky Ann Baker).

These folks may have remained a part of Mike’s past had desperation and Jean’s advice not literally drove Margaret to his door. Mike is wary when Margaret forces her way into his office in response to his unreturned telephone calls. During the confrontation, Margaret calls him a “lace curtain” impulsively prompting Mike to invite her to a party at his house. (See videos at http://www.mtc-nyc.org/current-season/goodpeople/media.asp)

Mike (Tate Donovan) and Kate (Renee Elise Goldberry), his trophy wife in "Good People."

The party is cancelled, however, when Mike’s daughter becomes sick. Believing she’s been “dis-invited,” Margaret shows up anyway. Her encounter with Mike and his wife, Kate (Renee Elise Goldberry), does not go well.

“Good People” is an affecting, heartfelt and diverting play about remembering where you came from, and caring about the people you let go and the ones you left behind. There is humor in “Good People” but this is a serious tale about class and conscience. These good people are all genuine; it feels as though one were living with them.

Margaret (Frances McDormand) and Kate (Renee Elise Goldberry) are two very differnt women who love or have loved the same man in "Good People."

The cast of "Good People" is exceptional. Estelle Parsons, in a small role as Dottie, Margaret’s money-hungry and un-empathetic landlady, is very amusing. FMcD is utterly believable as the uneducated and down-on-her-luck Margaret. It’s clear in the actor’s performance that Margaret’s good heart is leading her to places she really doesn’t like to go.

TD plays a Mike who feels entitled to his luck with a slippery ease. REG as the generous, polished, well-educated and smart Kate is extremely charming. The standout is BAB as straight-talking Jean.

Visit http://www.mtc-nyc.org/current-season/goodpeople/default.asp to learn more about “Good People.”