Sonia (Kristine Nielsen), Masha (Sigourney Weaver) and Vanya (David Hyde Pierce) in VANYA AND SONIA AND MASHA AND SPIKE |
Vanya
(David Hyde Pierce), Sonia (Kristine Nielsen), and Masha (Sigourney Weaver)
were named after characters in Chekhov’s plays by their now deceased parents
who had been college professors and lovers of community theatre in their prime. Vanya and Sonia devoted their lives to their
parents care, remaining in their ancestral home and foregoing any other meaningful
personal relationships, while Masha established herself as a successful actress
(although she was somewhat less successful on the marital front with five
failed marriages to her credit). Sonia
and Vanya are resentful toward Masha who, as they see it, left the entire
burden of caring for their parents to them, while she was gallivanting about on
the world’s stages and enjoying a glamorous life. True enough, perhaps, but to be fair to
Masha, it was she who provided all the money to maintain her parents’ and
siblings’ home and to support them all while she was away; absent her financial
support, who knows what might have come of them all. Now Masha has returned to visit her brother
and sister, with her latest boy toy, Spike (Billy Magnussen) in tow to let them
know that she intends to sell the house.
The
play that Christopher Durang has constructed around these premises, Vanya and Sonia and Masha and Spike,
now playing at Lincoln Center’s Mitzi E. Newhouse Theater, is replete with heavy-handed
allusions to Chekhov’s work. Vanya’s and
Sonia’s ethereal next door neighbor Nina (Genevieve Angelson) might have just
wandered in from Chekhov’s The Seagull
and then takes to calling Vanya “Uncle Vanya.”
The siblings quibble over whether or not the ten or so cherry trees on
their property constitute a true “cherry orchard.” (And there is at least one allusion to Ibsen
as well: Sonia may not see herself as a “wild duck” but she does persist in referring
to herself as “a wild turkey.”) And yet,
according to the playwright, Vanya and
Sonia and Masha and Spike is not a parody of Chekhov at all; rather, as
Durang puts it “The play takes Chekhov characters and themes and puts them into
a blender.” And, Durang might have added
(though he didn’t), he threw a big dollop of comedic good humor into the
blender as well.
The
net result is a play that gets off to a slow start but then turns out to be
rollicking good fun. The first half of
the first act is a bit flat with the characters coming across more as two
dimensional caricatures than fully fleshed out individuals. But by the second half of the first act, and
especially in the second act, Durang hits his stride and at least some of the actors
are given the opportunity to turn in truly superlative performances. Which two of them – Nielsen and Hyde Pierce –
do with a vengeance.
Nielsen’s
impersonation of Maggie Smith playing the role of the Evil Queen in Snow White
is absolutely priceless and is one of the play’s high points. So too is Hyde Pierce’s Chaplinesque portrayal
of Doc, one of Snow White’s seven dwarves.
But the play’s finest moment occurs in the second act when Hyde Pierce
goes off on a rant about how much better things used to be back in the fifties,
when families gathered together in front of their black and white TV sets,
sharing the experiences of watching “I Love Lucy” or “The Adventures of Ozzie
and Harriet” or “Bishop Sheen” or “Howdy Doody.”
Nielsen
and Hyde Pierce really do steal the show although Magnussen and Angelson turn
in perfectly adequate performances as Spike and Nina, respectively. I was a bit disappointed in Weaver’s portrayal
of Masha which struck me as rather pedestrian.
But Shalita Grant, the sixth actor in the play, did a fine job as
Cassandra, Vanya’s and Sonia’s cleaning lady who is also a soothsayer and voodoo
practitioner.
In
sum, this is a good (albeit not great) play, providing a couple of hours of
cheerful entertainment. And while a
familiarity with Chekhov isn’t absolutely required to enjoy the play, such a
familiarity would, I think, enhance your experience.
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