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.”

'Me, Myself and I' and Other Strange Bedfellows

Elizabeth Ashley, Brian Murray, Zachary Booth, Preston Sadleir and Natalia Payne, above, in "Me, Myself and I." Photo by Joan Marcus.

BY TAMARA BECK

"Me, Myself and I" is one of the latest works by America's greatest living dramatist, Edward Albee, who famously gave us "Who's Afraid of Virginia Woolf."

Identity, the self as other. The self as outsider. The self as twin. EA doesn't curry favor, but the audience at Playwrights Horizon – uneasy at times with the absurdist plot ably directed by Emily Mann – gives him laughs.

Here are OTTO, the adept and excellent Zachary Booth, and his twin brother, otto, sweetly played by Preston Sadleir who make up the trio of the title. OTTO addresses the audience directly, breaking the fourth wall. He is disrespectful. He is inconsiderate. He also has charm to spare. The protagonist, self-professed evil twin, OTTO, doesn't like his family and has some far-fetched plans to escape it.

Grande dame Elizabeth Ashley, taking over the role Tyne Daly originated when “Me, Myself and I” debuted in 2008 at the McCarter Theatre Center in Princeton, NJ, is their slovenly and perplexed Mother. She is also as sexy and slutty as a dame of a certain age can be. To add to her confusion, she gave her sons the same name but with different cases, and the names are spelled the same backward and foreword (palindromes and twins). She doesn't know to which son she is speaking.

Mother’s bedmate, the Dr., played by multiple Tony and Drama Desk award winner Brian Murray, is the perfect foil. "You mean metaphorically," he says, when it is clear she means literally.

Identity, the self, ego and the other – all serious issues – are taken seriously, despite the shenanigans.

Lest this reviewer reveal the various plot turns and twists – most of them tight – she will conclude by asserting an appreciation of “Me, Myself and I (extended through 31 Oct.) for its cheeky presentation and theatricality.

Visit http://www.playwrightshorizons.org/mainstage.asp for more information about “Me, Myself and I.”

Tamara Beck is President, Clean Lists Associates, Inc, an association management firm. And an avid theater-goer.