Sparing No One From Sharp Tongue and Rapier Wit in Second Coming of 'It's Only a Play'

Rupert Grint, F. Murray Abraham, Stockard Channing and Nathan Lane in a scene from "It's Only a Play." Photos by Joan Marcus.

BY TAMARA BECK

INSIDERISH plays can be problematic for the theatergoer, who is, after all, outside the business. However, in our celebrity- and Social Media-centric culture so much is more relatable than ever.

"It's Only a Play," at the Gerald Schoenfeld Theatre through 4 Jan. 2015, has enough transparent references to be accessible to most. Helping us navigate the theatrical allusions, Terrence McNally has retuned his 1987 comedy to bring it up to date.

Assembling at producer Julia Budder’s (Megan Mullally) lavish home (sets by Scott Pask) are many off-stage A-listers breathlessly introduced by Gus P. Head (Micah Stock), the coat-check jockey.

Pacing nervously in Julia’s boudoir is James Wicker (Nathan Lane), a TV star on the verge of falling off his perch. James is in town to witness and support his best friend, Peter Austin (Matthew Broderick), on the opening night of his Broadway debut play. James’ sitcom, “Out On A Limb,” kept him from taking the lead in Peter’s production.

Virginia Noyes (Stockard Channing), a bad-girl former movie star, hopes Peter’s play will be her ticket to redemption. Rehab certainly hasn’t helped. Rounding out the cast is the whiz-kid English director, Sir Frank Finger (Rupert Grint), and the nasty critic, Ira Drew (F. Murray Abraham).

Everyone at the soiree is in glamorous gala dress (courtesy of “It's Only a Play” costume designer Ann Roth).

TMcN provides zippy lines that skewer anyone involved in showbiz – from actors, critics, hangers-on, to audiences. Even ushers are not entirely exempt. Jack O’Brien’s direction keeps the pace of the piece racing along.

Micah Stock, Megan Mullally, Rupert Grint and Nathan Lane are show business types in "It's Only a Play."

Among the standouts in this stellar “It's Only a Play” cast, in order of magnitude, is NL. He has no peer on this stage. Front and center for the entire play, he is just tops. FMA fulfills the promises of his small role. Julia, in MM's hands, is a completely lovely ditz. SC is superb as the naughty Virginia.

TMcN, who has enough Tonys to prove his devotion to his craft and the business in which he practices it, may well grab another award or two for “It's Only a Play.”

Visit http://www.itsonlyaplay.com/ to learn more about “It's Only a Play.”

Myopia of Tony Awards Committee Is Plain to See

BY TAMARA BECK

FOR fans of theater, Tony season is both exciting and stressful.

Only 35 people make the selections, nominating the plays and musicals that 750 Broadway pros will vote as “Best.” And, really, we should be grateful to the rotating cast of the nominating committee, each of whom serves for an overlapping three-year term. Thanks should also go to the select members of the various theatrical guilds who comprise the voters that they have to make the tough choices for the 2012 American Theatre Wing’s Tony Awards. (Visit http://www.bit.ly/LQi7zD to see who votes for the Tonys.)

Just as there are no favorites among our children, all theater is special and beloved. Since most of us don’t get a vote, this reviewer can only sit on the sidelines and scold the Tony committee for neglecting some of the worthy work that has graced Broadway stages this season.

Although “Master Class” was named in the Best Revival of a Play category, Tyne Daly was overlooked. Her stellar performance as Maria Callas was scintillating, even in the gossipy so-so Terrence McNally vehicle. TD, known for her populist roles (like the Emmy-winning one in TV’s “Cagney & Lacey”), was in full diva mode in this portrayal. (See review at http://www.bit.ly/rsdSNf)

Also unjustly ignored was Lydia R. Diamond’s family drama, “Stick Fly.” Perhaps compounding its woes, it did not have a lot of traction with the theater-going public. Its lackluster box office and lack of Tony recognition as a Best Play contender are both a shame. All is not lost, however. Among the fine cast, the wonderful Condola Rashad got a nomination for Best Performance as an Actress in a Featured Role. “Stick Fly” was an imperfect but entertaining play in a lovely production. (See review at http://www.bit.ly/JV4ptr and see video above)

Garrett Sorenson and Tyne Daly in “Master Class.” Photo by Joan Marcus.

And not only was David Henry Hwang’s wry “Chinglish” unappreciated by audiences, this well-written, incisive and witty play was totally ignored by the Tony committee. Its bilingual cast had plenty of charm and the production lots of umph.

Now one can only wonder whether Tony voters will overlook the obvious winners among those nominated shows. It’ll all become clear soon enough. The Tony Awards, hosted by Neil Patrick Harris, will be broadcast live at 8 p.m. EDT tomorrow on CBS. Red carpet webcasting begins at 6 pm.

Visit http://www.tonyawards.com/en_US/index.html to learn more about the “2012 American Theatre Wing’s Tony Awards,” nominations, presentations and the “Live! from the Beacon Theatre” show.

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.”