Monroe Doctrine

The latest exploitation of Marilyn Monroe will be presented by the

New York City Opera next month at the New York State Theater. The work is part of the American Opera World Premiere Festival: three full-evening operas, all by American composers. Marilyn was written by Ezra Laderman, dean of the Yale School of Music. He sees Mon-

roe as "a quintessential American tragedy. She was used by every-

one. She wanted to be taken seriously and to have a family and Hi children. I'd wanted to do something on herfor a long time, and it was Norman Rosten's book Marilyn: An Untold Story that provided the catalyst."

Rosten, who wrote the libretto for Marilyn, was a close friend of Monroe's during the final seven years of her life. Nevertheless, according to Laderman, the libretto is "a work of fiction."

Neither Laderman nor Rosten, despite their lachrymose sympathy for Monroe, makes any conjecture about how the actress's life might have been different had she played Lady Macbeth or had a family. And apparently neither Laderman nor Rosten sees any triumph at all in Monroe's artistic achievement: creating one of the most enduring icons of the century. The title role will be sung by soprano Kathryn Gamberoni, who looks sumptuous in her blond wig. —DAVID DANIEL

DAVID DANIEL