Tag: Patricia Donegan
An exciting treatment of Chekhov’s ode to boredom
Strawdog Theatre presents:
Reviewed by Barry Eitel
It’s been a good year for director Kimberly Senior. Her numerous productions, which have spanned all over the city, became critical and popular successes, such as critic top picks The Overwhelming at Next Theatre and All My Sons at TimeLine Theatre (our review ★★★★). This year she’s had the fortune of directing plays written by some of greatest dramatists the world has ever seen, like Arthur Miller, Martin McDonagh, and Anton Chekhov (twice). It’s obvious she loves the greats, especially Anton, the grandfather of subtext. This love and passion comes across in her production of Uncle Vanya at Strawdog Theatre, a nuanced and layered homage to one of Chekhov’s masterpieces.
It is a common misconception that Chekhov wrote tragedies, one perpetuated by several melancholy premier productions directed by acting guru Constantin Stanislavski. In fact, the Russian master saw all of his works as comedies, albeit sometimes bittersweet ones. How well a cast and director understand this fact is a deciding factor in how a Chekhov piece will fare. The plot of Uncle Vanya, for example, basically boils down to some people being bored. Chekhov delves into the frantic monotony that drives people to break up marriages, friendships, and families. With a melodramatic twist, the play quickly becomes bland, stuffy, and unpalatable. However, if everyone understands the comedic elements in the writing, then the play punches hard. The latter is evident at Strawdog.
One of Senior’s strong points is her skill at bringing together some extremely talented actors. This isn’t necessarily hard when you’re working with Strawdog’s ensemble, but here almost every actor seems carefully tailored to their character. Tom Hickey’s portrayal of the titular uncle is deliberately understated, an interesting choice that makes the middle-aged character really pop. Hickey envelopes the character and personalizes the crap out of him. For example, instead of filling Vanya’s famous failed assassination attempt with rage or all-out despair, Hickey finds a quiet determination (with hilarious results). Shannon Hoag, who plays the object of Vayna’s affection Yelena, revs Hickey’s engines with heaps of teasing coyness, desperate boredom, and powerful austerity. Also in the mix are Kyle Hamman as the idealist doctor Astrov and Michaela Petro’s youthful Sonya. Crushed by the tedium of Russian provincial life, these characters find themselves locked in prisons of love, lust, and depression.
All of this is set against Tom Burch’s gorgeous scenery, which invokes the simple pleasures and pains of country living. The moveable walls are adorned in pink and stacked with shelves of drying herbs, flowers, and trinkets. As indicated in the play, though, nothing here is simple, not even boredom.
Occasionally the supporting cast misses marks. Tim Curtis’s Serebryakov (inconsequential academic, invalid, Yelena’s husband, Sonya’s dad, and Vanya’s frenemy) is a bit too cranky; Curtis overshoots here. And neither Senior nor Carmine Grisolia can show us a good reason why his character, Waffles, is a part of the story. Fortunately, the four leads entrench themselves in the script and overcome most shortcomings.
Energy throughout the piece lags at times, a drawback from Hickey’s relaxed style that permeates the rest of the show. It’s a danger of the script, and Senior and the cast succumb. Chekhov’s language doesn’t require a dragging energy. Even though the characters are doing all they can to kill time (and sometimes each other), a production of Vanya can still keep the tensions and stakes high.
In Senior’s past work I’ve seen, I sometimes feel she plays to close to the vest and is afraid to make stylistic risks, even though she often directs some of the most produced works in the canon. This doesn’t come across in Vanya, and I think a lot of the reason falls on the daring cast she assembled. The design, directing, and bold acting collide to make Chekhov’s ode to boredom pretty thrilling to watch.
Out of Place, Out of Time
Victory Gardens presents:
Kill the Old, Torture Their Young
reviewed by Paige Listerud
The success of Blackbird at Victory Gardens Theatre this summer has exposed Chicago to the work of Edinburgh born playwright David Harrower. Kill the Old, Torture Their Young, onstage at Steep Theatre, is Harrower’s second play, which had its world premiere at Edinburgh’s Traverse Theatre in 1998, fresh from his breakout success with Knives in Hens (1995).
“Kill the Old, Torture Their Young” is also the name of a song by Biffy Clyro, a Scottish alternative grunge band, which also had its beginnings in the mid-90s under the name Screwfish. Interestingly enough, Harrower bookends his play with monologues from a nameless Rock Singer (Derek Garner), commenting on modern alienation from an airplane in flight. But any connection between the two may have more to do with the 90’s explosion of Scottish culture than anything else. It’s not that the playwright might be familiar with Biffy Clyro; it’s that the band’s lyrics, too, are chockfull of the alienation and dislocation that inform Harrower’s central themes.
Steep Theatre’s production dislocates Kill the Old, Torture Their Young even further, from its cultural and historical roots. Placing the action in America, the actors do not engage in Scottish dialect; nor is there much of a strong nod to the 1990s postmodern use of multiple narratives–experimentation that ultimately influenced major commercial films like Magnolia. Director Katherine Walsh’s choices would be more than excusable with a stronger cast, with better timing to pull off all the nuanced humor of Harrower’s writing. However, given the unevenness of performances and lack of a cohesive ensemble, this production loses its bearings in more ways than one.
What also goes missing is daring punk/grunge energy that would better inform the rage of a character like Darren (Niall McGinty), a man whose thwarted ambition to become an actor results in otherwise inexplicable violence. Much like the Scottish novel Trainspotting, written by Irvine Welsh, made into a major motion picture, Kill the Old, Torture Their Young contains an underlying current of rebellion against alienating daily capitalist existence. That rage, unfortunately, goes largely unexploited and un-acted on in this production. Sadly, characters in this production seem to share only common resignation to the dreary, meaninglessness rhythm of their commodified lives.
That being said, a few performances create interest. Jim Poole’s quiet and stirring portrayal of Steven stands out, as the manager who could film the city he loves better than Robert (Peter Moore), the famous documentarian hired to do the job. Nice moments are created between Robert and Heather (Julia Siple) in a hotel room together. Paul (Leonard Kraft) and Angela (Bronwen Prosser) make a realistic pair of lost souls, who will likely stay together even if one doesn’t know what to do about the other. James Allen’s chagrined Birdwatcher and Patricia Donegan’s random Woman in Robes add badly needed humor and spice to the proceedings.
|Asst. Director:||Alex Hugh Brown|
|Prod. Manager:||Julia Siple|
|Scenic Design:||Dan Stratton|
|Lighting Design||Samantha Szigeti|
|Costume Design:||Melissa Torchia|
|Sound Design:||M. Florian Staab|
|Fight Choreographer:||Joey de Bettencourt|
|Stage Manager:||Jen Poulin|