Uncle Vanya
**
The Classika Theatre 4041 S 28th St., Arlington, Va. 8 p.m., except Sundays at 5 p.m. Feb. 21 - March 8 $20 in advance, $22 at the door for Friday and Saturday performances, $17 in advance, $20 at the door for Thursday and Sunday performances. For more information visit www.classika.org.
The Classika Theatre, a community theater with a maximum seating capacity of just over 80, finds difficulty staging "Uncle Vanya," a rather complex play by Anton Chekhov. Although director Ivan Kovatchev grew up in Bulgaria and witnessed the crumbling of the Soviet Bloc, the authenticity of this play seems most difficult to portray.
For those not familiar with the Russian tale, "Uncle Vanya" is the story of family dysfunction and un-fulfillment in late 19th, early 20th century Russia. The play was designed largely to mirror Chekhov's own experiences in family disputes, particularly economic ones. It takes place on a provincial farm, where Vanya has been custodian for the last 15 years. In sad twists of inheritance, Vanya has missed out on inheritance. His father died long ago, then his mother remarried and then she too died. His stepfather, a professor at a university, is on his way to stay at the farm with Vanya, and with him will come his much younger and beautiful wife, Yelena.
Kovatchev said Vanya is most of all an exploration of one "the anatomy of a dysfunctional family."
"This play is extremely typical of Chekhov, whose dream was to create a play in which actors would be real people in real life situations," he said.
As the plot unfolds, dynamics between the characters are difficult to bring across in a play. First, it's supposed to show people who are familiar with each other beyond levels they are comfortable with. This is something that is notoriously difficult to portray authentically among actors who have had only a few weeks to get to know each other.
Brain Mac Ian's performance of Vanya is awkward, and he makes no attempt at a Russian accent, like most of the other characters. Perhaps, if they had tried and failed, it would have been worse, but if a Russian community theater can't make an attempt, who can? Ian does an inconsistent and awkward job that leaves us feeling like Vanya is irrelevant. It is ironic that Vanya has the most stage time appearing drunk, and yet his peers do a better job at portraying this authentically. To his credit, Mac Ian's performance improves during the course of the play.
In opposition to Mac Ian's upward curve, is Kim Curtis' downward spiral in his performance as Doctor Astrov. Curtis does well when he is center stage and delivers his lines with finesse and gusto. He pays no heed to the importance of reaction acting however. As the play progresses and the Doctor's situations become more and more dependent on the others on stage, Curtis' falls out of favor with the audience.
Both David Rothman, as the professor, and Renata Loman as his wife Yelena, shine in effortless portrayals of difficult characters. Loman in particular perseveres through awkward moments caused by co-stars, and is in fact the only cast member with a Russian accent. It is an unfair mode of judgment, yes, but one that rings true in the play's 90-plus minutes of running time.
The rest of the supporting actors do succeed in their roles, except perhaps Stacy Lane Smith as Sonia, the professor's stepdaughter. Smith is perhaps the only one whose role should have demanded more from her, but was spared from such demands because she is the youngest member of the cast.
It is important to recognize that Vanya is Sonia's uncle. Therefore, Sonia understands little of the complex family relationships here or their history. She is, after all, only 12. The audience finds itself naturally in her position and so she becomes a great basis of observation for the rest of the family.
Kovatchev has perhaps missed the point, or rather forgotten it in lieu of other things. Kovatchev has chosen to focus on Yelena's experience and the love triangle she is the axis of, instead of little Sonia, who is pushed to the wayside and joins Vanya in the gutter of the unfulfilled.
Kovatchev's Uncle Vanya is an exploration of intentions and consequence. His focus is upon Yelena's struggle to be a good person, and from her all the other performances find their ground. Uncle Vanya is important to see not only for one living in post-modern America, but also because it does not come to town everyday. And considering its faults, it is play that is notoriously difficult to get right.
