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Divas are fascinating creatures, if only because their aura of entitlement usually masks an insecure and tortured soul. It's this soul that Terence McNally is seeking to expose in his 1995 play, ''Master Class,'' revolving around the opera singer Maria Callas, which is currently receiving a highly respectable production at Paper Mill Playhouse. ''Master Class,'' though, has always been more of a performance piece than a well-made play; the licenses Mr. McNally takes with both the dramatic form and with the true nature of a master class itself are geared to keep the focus on the character he places center stage -- not so much for development as for introspection -- and inevitably on the actress playing her. [ABSTRACT FROM PUBLISHER]