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Memories of Callas
| Article
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17204 |
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Section : |
THE ARTS
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| Issue
Date : |
2 / 1990 |
1,596 Words |
| Author
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Philip Kennicott
Philip Kennicott, based in New York, is a writer on
performance arts. |
Perhaps because opera has little respect for the territoriality of the other arts, it is seldom represented fairly by them. Film, which has its origins as a popular art form in the opera house, is particularly resentful of this dirty little family secret and has therefore been the cruelest caricaturist of them all. Theater and opera, however, coexist a bit more comfortably, and it is in the theater that opera is now receiving some of its most probing criticisms.
In October the Manhattan Theatre Club brought Terrence McNally's Lisbon Traviata to the Promenade Theatre. It was yet another step up in the world for this two-act play which has already been given two short runs in small theaters. The play was developed, written, and rewritten through workshops and in light of its two previous productions. Although the dramatic flavor has undergone some revision, its cogent representation of the effects of opera on the lives of two gay men remains intact and relevant.
The play opens in a New York apartment of faded elegance, an environment calculated to appeal to a Wagnerian craving for rich fabrics and lush swaddlings. It is Mendy's apartment, and Stephen is visiting for an evening of opera listening and repartee. The topic of conversation is the great soprano Maria Callas, for whom Mendy and Stephen have an extreme, though justifiable, reverence. The talk is fast and spirited, and it occasionally becomes a test of wits between the campy, self-ironic Mendy, played by Nathan Lane, and the confidant but troubled Stephen, played by Anthony Heald. The names of famous divas - from Callas to Tebaldi to Sutherland - fly at a furious, bravura pace, often accompanied by a little lighthearted calumny. The dialogue is immediately recognizable to
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