A WONDERFULLY CALLAS RENDITION OF 'MASTER CLASS'.

Byline: Julio Martinez Correspondent

THE EVER-PROLIFIC Terrence McNally is one of this country's most celebrated yet controversial contemporary playwrights, with a catalog that includes such famed works as ``Lips Together, Teeth Apart,'' the Tony-winning librettos for ``Ragtime'' and ``Kiss of the Spider Woman,'' and his two Tony-winning plays, ``Love! Valour! Compassion!'' and ``Master Class.''

``Master Class'' is utterly dependent on one of McNally's favorite (usually annoying) theatrical devices: bringing the flow of the play to a halt to allow a central character to poetically expound on his or her subtext in a monologue. In this Fountain Theatre revival of ``Master Class,'' it is fortunate that the voice at the other end of two extended, monumentally cathartic monologues belongs to Karen Kondazian.

Kondazian, under the beautifully paced staging of Simon Levy, literally seizes the Fountain stage as Maria Callas, the opera diva for whom ``art is domination.'' Based on transcripts of Callas' legendary master classes at Juilliard in the early '70s, McNally heavy-handedly digs into the vulnerability and doubt that are hidden under the remorseless ego and sparkling humor of this gifted but troubled woman. Kondazian makes it work, exuding a dazzling combination of cattiness and canniness as Callas illustrates her life, loves and artistry for the benefit of - and at the expense of - her students.

In this fanciful re-creation of one of her classes, a now vocally ravaged Callas rants and raves in true prima donna fashion about everything, from the temperature in the room to the lack of style of those she tutors. Interrupting her charges' vocal offerings often to pontificate directly to the audience (who ostensibly are auditing the class), Callas haughtily imposes her insights about artistic commitment and creative genius. The monologue device occurs once in each act as Callas is swept away by the music to a state of reverie, expounding on her own difficult, nearly loveless life, artistic accomplishments and crushing decline.

Kondazian turns what otherwise could be maudlin melodrama into high art. She has it all: the accent, the attitude, the tormented isolation. She manages to make almost everything, even the unwieldy monologues, sing. She is particularly captivating when re-creating her relationship with the Greek shipping tycoon Aristotle Onasis. In the second-act revelation that the self-serving billionaire forced the totally dependent Callas to have an abortion, Kondazian emits a primal scream that is literally hair-raising in its depth of sorrow.

Though the play is written to showcase the domination of one personality, the supporting cast generally hold their own quite well. Hila Plitmann is marvelous as Sharon, a youthful soprano whose lack of understanding of the work she is performing gives rise to vicious ridicule by Callas. Plitmann impressively displays the temperament and the talent of a gifted student as she proceeds to sail magnificently through Verdi's difficult ``Vieni! T'affretta'' aria from ``Macbeth,'' and then tearfully fights back against the cruelty of Callas.

Danielle Nice is comically endearing as initial victim Sophie, whose character sets the tone for Callas' interesting teaching style. Nice exudes the helplessness of a trapped mouse as Callas constantly interrupts her efforts to sing. It is a credit to the direction of Levy and the interplay of Kondazian and Nice that Sophie actually appears to be molded by Callas into giving an impressive performance.

The only weak link in the production is Terence Jay's Tony, who projects the relaxed, self-confident swagger of an overconfident young tenor but lacks the vocal veracity to believably be a master-class candidate at Juilliard. Joyce Cooper is excellent as accompanist Manny, both as a pianist and as a selfless, caring individual who must bear the brunt of Callas' demands.

In his small role, Scott Tuomey provides much-needed comedy relief as the disgruntled stagehand who has to cater to Callas' desires.

MASTER CLASS - Three and one half stars

Where: Fountain Theatre, 5060 Fountain Ave., Hollywood.

When: 8 p.m. Friday and Saturday, 2 p.m. Sunday; through Feb. 29.

Tickets: $25. Call [phone].

In a nutshell: L.A.'s theatrical diva Karen Kondazian elevates Terrence McNally's flawed play to the level of a masterwork.

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Danielle Nice, left, and Karen Kondazian are impressionable opera student and overbearingly divaesque teacher, respectively, in ``Master Class,'' at the Fountain Theatre.