‘Uncle Vanya’ @ Lewisville Playhouse
Photos courtesy of Lewisville Playhouse
Carol M. Rice
Russian playwright Anton Chekhov’s Uncle Vanya was first produced in 1899 by the Moscow Art Theatre and directed by the legendary Konstanin Stanislavski. The version produced by Lewisville Playhouse is a 2013 adaptation by American playwright and filmmaker Annie Baker (The Flick, John, Janet Planet), who worked with a literal translation by Margarita Shalina, plus Chekhov’s original Russian text.
Lewisville Playhouse artistic director Zachary Cantrell directs; he’s been enamored of Baker’s version for well over two years, and it’s obvious that this show is a labor of love for him. He states in his director’s notes that Vanya can come across as a bit “hammy”—but under his deft direction, that is not the case.
Brian Hoffman portrays the title character (whose actual name shares nothing with his nickname Uncle Vanya), who has been running a rural family estate with his niece Sonya since his sister (Sonya’s mother) died. At 47, he fears life has passed him by, and Hoffman makes this world-weariness completely believable. The only thing keeping him going is his love for Yelena, the young wife of his brother-in-law Serebryakov. Yelena rejects Vanya at every turn, though Hoffman manages to make each of Vanya’s attempts at expressing his love feel unique—which, as often as the man tries, can’t be easy to do. When Vanya finally snaps, his anger is palpable and scary, yet touching at the same time.
As Vanya’s overworked niece Sonya, Sasha Richie gives a strong, multi-layered performance. She is obviously worn out from doing all the work, yet she visibly brightens every time Astrov, Serebryakov’s doctor, comes around. Sonya almost glows, she’s so much in love. And when she learns that her love is unrequited, we can almost see her heart shattering.
Kevin Fuld plays Astrov; he is also in love with Yelena, who is more receptive to his advances than to Vanya’s, despite knowing there could never be anything between them. Fuld is charming as Astrov and gives him a casual charisma—though he seems to lack the wise, doctorly elegance described by the women in love with him. His mustache, however, was truly fabulous.
As Yelena, Kate Lambert is beautiful and refined in an ice princess sort of way. Even when trying to play “stepmother” to Sonya, she’s cool and closed off. Lambert and Richie have a lovely scene together that emphasizes just how different these two characters are. The only time we see Yelena weaken is under Astrov’s spell, and then we briefly see a softer side of her.
Charles Beachley III plays the narcissistic professor Serebryakov. He has no idea how selfish he really is, even after Vanya tries to kill him for suggesting they sell the estate so he and his much younger wife Yelena can achieve a higher income. Serebryakov doesn’t spare a thought about what that would do to Vanya, Sonya, and Maria. Beachley is a powerful presence onstage, and despite a few line bobbles on opening night, manages to create one of those characters we all love to hate.
Vanya’s mother Maria is played by Nancy Lamb. Maria is certain that Serebryakov can do no wrong, and treats him more like a son than she does Vanya, presumably in loving memory of her late daughter. Lamb’s Maria is sweet and submissive throughout.
The characters of Marina and Telegin are always around, yet we aren’t quite sure why. Colleen Russ plays Marina, an efficient and helpful old nurse, and Caleb Phillips’ Telegin (better known as Waffles for his pock-marked face) lurks in the background and plays his guitar on occasion. Olivia Andrade appears briefly in a couple of scenes as Yefim, who seems to be a messenger and bringer of the horses. Chekhov, who knew plenty about life on these country estates outside Moscow, must have known down-home “folks” like them.
The play’s setting is the estate, but it’s unclear from both Cantrell’s set and Wendy Barrett’s costumes what the time frame is to be. I liked the idea of the modern or even timeless costumes, but Telegin seemed to be in 1930s Russian garb, Marina inexplicably wore pants under her dress, and dressing both Vanya and Astrov in dark gray t-shirts and jeans in a scene was a head-scratcher. Fuld’s ill-fitting jeans added to his afore-mentioned lack of elegance.
Cantrell’s sound design complemented the mood nicely, and Ken Davis’s lighting design was exceptional at bringing us in and out of each scene. The pacing of the show was solid from the start, and there were only a few times when I was reminded that what we were watching was A Classic By Chekhov—which is a good thing!
If you’ve never seen a Chekhov play, Lewisville Playhouse’s production of Uncle Vanya would be a good place to start; and if you’re already a fan, you’ll find this production satisfying.
WHEN: April 4-20, 2025
WHERE: 160 West Main St., Lewisville, TX (entrance is behind Main St. Buildings)
WEB: lewisvilleplayhouse.org
