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‘Uncle Vanya,’ Steve Carell in a Superb Update of Timeless Chekhov
A favorite of Anton Chekhov fans is Uncle Vanya because it combines organic comedy and tragedy emerging from mundane, static situations, intricate, suppressed characters and their off-balanced, mired-down relationships. Playwright Heidi Schreck (What the Constitution Means to Me), has modernized Vanya enhancing the elements that make Chekhov’s immutable work relevant for us today. Lila Neugebauer’s direction stages Schreck’s Chekhov update with nuance and singularity to make for a stunning premiere of this classic at Lincoln Center’s Vivian Beaumont in a limited run until June 16th.
With a celebrated cast and beautifully shepherded ensemble by the director, we watch as the events unfold and move nowhere, except within the souls of each of the characters who climb mountains of elation, fury, depression and despair by the conclusion of this two act tragicomedy.
Schreck has threaded Chekhov’s genius characterizations with dialogue updates that are streamlined for clarity, yet allow for the ironies and sarcasm to penetrate. At the top of the play Steve Carell’s Vanya is hysterical as he expresses his emotional doldrums at the bottom of a whirlpool of chaos which has arrived in the form of his brother-in-law, Professor Alexander (the pompous, self-important Alfred Molina in a spot-on portrayal), and Alexander’s beautiful, self-absorbed, younger-by-decades wife Elena (Anika Noni Rose). Also present is the vibrant, ironic, self-deprecating, overworked Dr. Astrov (William Jackson Harper), a friend who visits often and owns a neighboring estate.
During the course of the first act, we are witness to the interior feelings and emotions of all the characters who in one way or another are bored, depressed, miserable and disgusted with themselves. Vanya is enraged that he has taken care of Alexander’s lifestyle, even after his sister died in deference to his mother, Maria (Jayne Houdyshell). He is particularly enraged that he believed with is mother that Alexander was a “brilliant” art critic who deserved to be feted, petted and over credited with praise when he lived in the city.
Having clunked past his prime as an old man, Alexander has been fired because no one wants to read his work. He and Elena have run out of money and are forced to stay in the family’s country estate with Vanya and Sonia, Alexander’s daughter (the poignant, heartfelt Alison PIll), away from the limelight which shines on Alexander no more. Seeing Alexander in this new belittlement, though he orders around everyone in the family, who must wait on him hand and foot, Vanya is humiliated with his own self-betrayal. He didn’t realize that Alexander was a blowhard who duped and enslaved him to labor on the farm to supporting his high life, while he pursued his “important” writing. Vanya and Sonia labor diligently to make sure the farm is able to support the family, though it has been a difficult task that recently Vanya has grown to regret. He questions why he wasted his years on a man unworthy of his time and effort, a fraud who knows little about art.
Likewise, Astrov questions his own position as a doctor, admitting to Marina (Mia Katigbak), that he feels responsible for not being able to help a young man killed in an accident. To round out the “les miserables,” Alexander is upset that he is an old man who is growing more decrepit by the minute as he endures believing his young, beautiful wife despises him. Despite his upset, Alexander expects to be waited on by his brother-in-law, mother-in-law and in short, everyone on the estate, which he has come to think is his, by virtue of his wanting it. Though the estate has been bequeathed to his daughter Sonia by Vanya’s sister, his first wife, Alexander and Elena find the quiet life in the country unbearable.
As they take up space and upturn the normal routine of the farm, Elena has been the rarefied creature who has disturbed the molecules of complacency in the lives of Vanya, Sonia and Astrov. Her beauty is shattering. Sonia hates her stepmother, and both Vanya and Astrov fall in love and lust with her. As a result, their former activities bore them; they cannot function with satisfaction, and have fallen distract with want, craving the impossible, Elena’s love. Alexander fears losing her, but realizes if he plays the victim and harps on his own weaknesses of old age, as distasteful as he is, Elena is moral enough to attend to him, though she is bored and loathes him in the process.
The situation is fraught with problems, hatreds, regrets, upsets and soul turmoil, which Schreck has stirred following Chekhov’s dynamic. Thus, Carell’s Vanya and Harper’s Astrov are humorous in their self-loathing as is the arrogant Alexander and vapid Elena who Sonia suggests can end her boredom by helping them on the farm. Of course, work is not something Elena does, which answers why she has married Alexander and both have been the parasites who have sucked the lifeblood of Vanya and Sonia, as they labor for their “betters,” who are actually inferior, ignoble and selfish.
To complicate the situation, Sonia is desperately in love with Astrov, who can only see Elena who is attracted to him. However, Elena is afraid to carry out the possibility of their affair. Instead, she destroys any notion that Sonia has of being with Astrov by ferreting out Astrov’s feelings for Sonia which tumble out as feelings for Elena and a forbidden, hypocritical kiss which Vanya sees and adds to his rage at Elena’s self-righteousness and martyred morality. When Elena tells Sonia that Astrov doesn’t love her, Sonia is heartbroken. It is Pill’s shining moment and everyone who has experienced unrequited love empathizes with her devastation.
When Alexander expresses his plans to sell the estate and take the proceeds to live in the city in a greater comfort and elegance, Carell’s Vanya excoriates Alexander and speaks truth to power. He finally clarifies his disgust for the craven and selfish Alexander, despite Maria’s belief that Alexander is a great man, not the fraud Vanya says he is.
It is a gonzo moment and Carell draws our empathy for Vanya who attempts to expiate his rage, not through understanding how he is responsible for being a dishrag to Alexander, but through manslaughter. The scene is brilliantly staged by Neugebauer and is both humorous and tragic. The denouement happens quickly afterward, as each of the characters turns to their own isolated troubles with no clear resolution of peace or reconciliation with each other.
The ensemble are terrific and the actors are able to tease out the authenticity of their characters so that each is distinct, identifiable and memorable. Naturally, Carell’s Vanya is sympathetic as is Pill’s heartsick Sonia, for they nobly uphold the ethic that work is a kind of redemption in itself, if dreams can never come true. We appreciate Harper’s Astrov in his love of growing forests and his understanding of the extent to which the forests that he plants will bring sustenance to the planet, if even to mitigate only somewhat the society’s encroaching destructiveness. Even Katigbak’s Marina and Sonia’s godfather Waffles (the excellent Jonathan Hadary), are admirable in their ironic stoicism and ability to attempt to lighten the load of the others and not complain.
Finally, as the foils Molina’s Alexander and Noni Rose’s Elena are unredeemable. It is fitting that they leave and perhaps will never return again. The chaos, misery, dislocation and confusion they leave in their wake (including the somewhat adoring fog of Houdyshell’s Maria), are swallowed up by the beautiful countryside and the passion to keep the estate functioning which Sonia and Vanya hope to achieve in peace. Vanya, for now, has thwarted Alexander, by terrorizing Alexander into obeying him in a language (threatening his life), he understands. For this we applaud Vanya.
When Alexander and Elena leave, the disruption has ended and they take their drama and chaos with them. It is as if they were never there. As Vanya and Sonia handle the estate’s paperwork, which they’ve neglected having to answer Alexander’s every need, the verities of truth, honor, nobility and sacrifice are uplifted while they work in silence, and peace is restored to the estate, though they must suffer in not achieving the desires of their lives.
Neugebauer and Schreck have collaborated to create a fine version of Chekhov’s Uncle Vanya that will remain in our hearts because of the simplicity and clarity with which this update has been rendered. Thanks go to the creative team. Mimi Lien’s set design functions expansively to suggest the various rooms of the estate, the garden and hovering forest in the background. A decorative sliding divider which separates the house from the forest and allows us to look out onto the forest and woods beyond (a projection), symbolizes the division between the natural and the artificial worlds which influence and symbolize the characters and what they value.
Vanya and the immediate family take their comforts from the earth and nature as does Astrov. Alexander and Elena have forgotten it, finding no solace in the beautiful surroundings and quiet, rural lifestyle which they find boring because they prefer chaos and the frenetic atmosphere of society. Essentially they are soul damaged and need the distractions they’ve become used to when Alexander was famous and the life of the party before he got tiresome and old and disgusting in the eyes of Elena and those who fired him..
The projection of trees that expands entirely across the stage in the first act is a superb representation of what is immutable and must be preserved as Astrov works to preserve. The forest of trees which is the backdrop of the garden, sometimes sway in the wind. The rustling leaves foreshadow the thunder storm which throws rain into the garden/onstage. The storm symbolizes the storm brewing in Uncle Vanya about Alexander, and emotionally manifests when Alexander suggests they sell the estate to fulfill his personal agenda.
During the intermission every puddle and water droplet is sopped up by the tech crew. Kudos to Lap Chi Chu & Elizabeth Harper for their lighting design and Mikhail Fiksel & Beth Lake for their sound design which bring the symbolism and reality of the storm home.
The modern costumes by Kaye Voyce are character defining. Elena’s extremely tight knit, brightly colored, clingy dresses are eye candy for her admirers as she intends them to be to attract their attention, then pretend she doesn’t want it. Of course she is the leisurely swan while Sonia is the ugly duckling in work clothing, Grandmother Maria dresses like the “hippie radical feminist” that she is, and Marina is in a schmatta as the servant who cooks and cleans. Here, it is easy for Elena to shine; there is no competition.
Vanya looks frumpy and uncaring of himself. This reflects his depression and lack of confidence, while Molina’s Alexander is dressed in the heat like a peacock with a scarf, cane and hat and cream-colored suit when we first see him. Astrov is in his doctor’s uniform, utilitarian, purposeful, then changes to more relaxed clothing. The costumes are one more example of the perfection of Neugebauer’s vision and direction of her team.
Uncle Vanya is an incredible play and this update does Chekhov justice. It is a must-see for Schreck’s script clarity, the actors seamless interactions and the creative teamwork which elevates Chekhov’s view of humanity with hope, sorrow and love in his characterizations, especially of Vanya.
Uncle Vanya runs two hours twenty-five minutes including one intermission, Lincoln Center Theater at the Vivian Beaumont. https://www.lct.org/shows/uncle-vanya/whos-who/
‘Primary Trust,’ the Hope of Friendship Through The Trauma of Being Alone
Small town life can be incredibly boring and static. However, for those who experienced unaccountable pain and trauma, the peace and quiet may be precisely what is needed to achieve a balanced state. In Eboni Booth’s sensitive, profound drama Primary Trust, currently at Roundabout Theatre Company until July 2nd, the playwright investigates humans in their ability to heal from trauma.
For some, getting beyond the pain of emotional loss requires a particular kind of remedy. Kenneth (William Jackson Harper), a resident of Rochester suburb, Cranberry, New York, has found the ability to withstand loss through his mind and will’s resilience to nurture itself with hope and friendship.
Kenneth addresses the audience directly relating a sweetness and shy vulnerability that is immensely likable. He introduces the town and his friend Bert to the audience with ease and authenticity. When there is a segue in thought and feeling, a bell rings as an accompaniment by musician Luke Wygodny who also plays the cello and other instruments before the play begins and during salient turning points.
Harper’s Kenneth takes his time to gather his thoughts as he confesses to us. His need to share his story resonates. Clearly, his story is momentous and universal. Praise goes to William Jackson Harper who engages us with his humanity. Additionally, Eboni Booth’s simple word craft in structuring likable, recognizable, human characters in this small town is amazing. With fine direction by Knud Adams, who shepherds Harper’s Kenneth and the supporting actors, we become captivated and empathize with Kenneth though we may have little in common with him.
Kenneth shares his experiences about “what happened” to him at a turning point in his life when he is thirty-eight years old. He gives us background and reviews his daily routine in Cranberry, New York focusing on the high point of his day after work, when he spends the evening at Wally’s, a typical tiki bar/restaurant. There, he joins his BFF Bert (Eric Berryman) and they drink Mai Tais and share jokes and stories. Their affection and warmth is genuine as they reminisce about past experiences in the joyful atmosphere of booze and camaraderie.
However, apart from their bonding daily at Wally’s and their race, the men are very different. Kenneth works at a bookstore and has been invaluable to his boss, Sam (the on-point Jay O. Sanders) doing bookkeeping, clerking and various chores. Bert on the other hand has an office job, a wife and children, whom he leaves to be with Kenneth in the evenings. It is around about this time that reality fuses with the ethereal, and logic is throw out the window. How the playwright, director and Harper’s portrayal of Kenneth massage us to accept this maverick dramatic element is a testament to their talent and genius.
Kenneth explains that his friend Bert is invisible, imaginary. In other words his BFF can only be seen by him (and of course us). Thus, we become intimates. In confiding to us, Kenneth trusts us to share his secret, in the hope we will not judge him and “turn off” because he’s “wacky.”
Sam is aware that Bert is Kenneth’s imaginary friend. When he tells Kenneth he is selling the store and relocating for health reasons, he makes it a point to reference Bert. He suggests when Kenneth looks for another job, he shouldn’t allow Bert to intrude on the interview. Nor should he share with prospective employers that Bert is his imaginary friend. The implication is that they will think Kenneth is deranged. That we accept Bert as imaginary and go along for the ride is creditable to the playwright, director and actors.
Sam’s news about closing his store is an earthquake. Kenneth discusses the impact on his life with Bert and a new Wally’s waitress Corrina (April Matthis). Though Sam’s move shakes Kenneth, it is an opportunity. He is forced to end the nullifying status quo must. Change occurs in Kenneth’s discussions with Bert and Corrina, who suggests the bank Primary Trust is looking to hire tellers. When Kenneth applies for a job and speaks with Clay who is the branch manager (Jay O. Sanders), all goes well. Humorously, Bert accompanies him to the interview and prompts Kenneth’s winning responses which seal the deal. Clay hires him and he becomes one of the best employees of the bank.
However, Kenneth must confront a transition moving in his soul. The stirrings begin when he and Corrina as friends move beyond Wally’s to a lovely French restaurant. In a humorous turn Jay O. Sanders is the French waiter who serves them. It is in this new expansive world with Corrina that possibilities open up for Kenneth. For the first time, Kenneth doesn’t meet Bert at Wally’s It is another earthquake that rocks him off the status quo of his insular life. There is no spoiler alert. You’ll just have to see this heartfelt production to discover what happens next.
William Jackson Harper is absolutely terrific in a role which is elegantly written for the quiet corners of our minds. The supporting cast are authentic and vital in filling out the life that Kenneth has made for himself to help him emerge out of his cocoon and begin to fly. The playwright’s courage to present an extraordinary friendship which serves Kenneth to bring him to a point of sustenance until he launches into success is beautifully, subtly conveyed. Thanks to the ensemble, who make the unbelievable real, Kenneth’s “small life” in its human drama is important to us.
Thus, when Kenneth explains his upbringing to Corrina toward the end of the play, his revelation stuns. The clues coalesce and we “get” who he is, understanding his brilliance, his tenacity and perseverance. It brings to mind the character of Jane Eyre (in the titular novel), whose dying friend tells her, “You are never alone. You have yourself. ” The playwright takes this notion further to suggest, when you feel you can’t trust yourself, primarily, you can always elicit an imaginary friend who is closer than a brother or sister, until it is time for them to leave. It is through this “primary trust” one survives through heartbreak, trauma, isolation and death.
Primary Trust‘s fantastic qualities enliven the themes and remind us of the importance of doing no harm as we negotiate aloneness in our own soul consciousness. Kenneth chose his friend wisely. He relates how this occurs to Corrina who listens, the active ingredient of his budding friendship with her.
Kudos to the set designer Marsha Ginsberg,Isabella Byrd’s lighting design, Mikaal Sulaiman’s sound design, Qween Jean’s costume design, Niklya Mathis’ hair & wig design and Like Wygodny’s original music which to tonally balance the production. The mock up of the town square offered a metaphoric quaint suburb at a time before the technological explosion and cell phones when people listened to each other live and as Kenneth does created conversations with ethereal friends. The set design and music created the atmosphere so that we readily accept Kenneth’s and Bert’s friendship and its significance with wonder and surprise.
For tickets and times to see Primary Trust, go to their website https://www.roundabouttheatre.org/get-tickets/2022-2023-season/primary-trust/performances
CAROLE DI TOSTI 