Anton Chekhov

Chekhov’s fun: Epilogue presents Durang hit

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By John Lyle Belden

Celebrated American playwright Christopher Durang, notable for his comedies, gave us in 2012 an instant classic – “Vanya and Sonia and Masha and Spike” – inspired by the legacy of Anton Chekhov, a Russian writer at the turn of the 20th century known for more serious fare. The play is a mashup of styles, loaded with wit and belly-laughs while delivered in a mode in which everything seems fraught with meaning.

The foursome, plus two, take the stage at Epilogue Players in downtown Indy, directed by Michael and Marie Beason.

On a warm April day in Bucks County, Pa., 50-something siblings Vanya (David Johnson) and Sonia (Alyce Penry) sit with coffee and look out the windows to see if the blue heron is at the pond. They and their sister Masha (Christine Kruze) – a popular film actor – were raised by literature professors, hence their Chekhovian names. Cleaning lady Cassandra (Susan Hill) seems to live out her own legendary name, frequently declaring prophesies. “Beware of Hootie Pie!”

Masha arrives with her current lover, Spike (Logan Laflin), a hot young aspiring actor. He goes out to the pond for a swim (so much for that heron) and returns with Nina (Emily Reese Castro) a young woman from the neighboring farm who is also an adoring fan of Masha (and an aspiring actress, of course).

All six will attend a local costume ball, with their outfits arranged by Masha (or rather her assistant, Hootie Pie). As the setting doesn’t change, we mainly see the consequences the following day. There is also a reading of an unusual play that Vanya has been working on, held at the insistence of Nina – now affectionately calling him Uncle Vanya – who reads as the main character.

Chekhovian delivery actually enhances the play’s comic potential, coupled with absurdities like Cassandra’s voodoo antics, contrasting with Spike being the type of guy who thinks Chekhov only has something to do with Star Trek. Will a gun go off? One of the siblings certainly will, verbally. After all, the fate of the farmhouse and its cherry (sort of) orchard is at stake.

Hill is a hoot as the wacky prophetess pressed into making lunch. Penry is a delight as the overlooked sibling, even in her sad-sack moments (“I haven’t lived,” she moans), which makes it all the more charming when things go her way. Johnson exudes easy calm as Vanya, the peacemaker of the family, at least up to a point.

Kruze portrays Masha’s vanity as her shield against uncertainty and regret. Laflin handsomely embodies a dude who has everything except maturity. On the other hand, Castro plays Nina as an energetic youth with an old soul.

The at-home feeling set is designed by Andy and Mel Burnett, decorated by Susanne Bush. Lola Brewster is stage manager.

It’s not every show where we laugh until we hurt at people who are crying. But it’s this kind of juxtaposition that makes “Vanya and Sonia and Masha and Spike” fascinating company. Performances are Thursday through Sunday, Feb. 12-15, at 1849 N. Alabama St. (corner of 19th and Alabama), Indianapolis. Get tickets at epilogueplayers.com.

This review knows it’s a review

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Meta (noun): Of a creative work, referring to itself, or to the conventions of the genre; self referential.

Why am I even doing this? I mean, the play, “Anton in Show Business,” even includes its own review. Just pay attention late in the second act; it’s right there. Nothing I need to add.

If you are in the Indianapolis theatre community, you’ve likely already heard about it, produced by the resurrected Betty Rage Productions and directed by its founder, Callie Burk-Hartz. We all know and love Callie, and she is on her game here. She even put it at the same address as her last Betty show, 627 Massachusetts Ave. – TOTS back then, now the District Theatre – “Outback” on the nice alley stage.

The 2000 play by Jane Martin takes its inspiration from Anton Chekhov’s “The Three Sisters,” written 100 years earlier. With more than a dozen roles played by seven women, the plot involves an effort to stage a version of the Russian’s downer drama that is, as one character puts it, “funny, funny, funny, funny, FUNNY, tragic.”

And if you are in the theatre community, you will love this. The cynical backstage dealings, egos, virtue-signaling, politics, etc., make this one of the best send-ups of regional and community theatre culture since “Waiting for Guffman.” If you aren’t on the “inside,” well, you liked “Guffman,” right? And did I mention this is FUNNY?

Devan Mathias plays TV star Holly Seabe (cast as Masha, I’ll note for Chekhov fans) as that actress you hate-watch but with slightly more talent and maybe a hint of humanity. Meg Ellioy McLane is struggling stage veteran Casey Mulgraw (Olga) trying to stay positive despite her lack of a big break, and that lump she just detected… Sarah Zimmerman is impossibly-sweet and eager Lisabette Cartwright (Irina), an elementary teacher in her first professional role, bringing her back to her native Texas, “Pardon me, Jesus.”

Comic chameleon Kelsey Van Voorst gets a workout here in roles including Actors Express of San Antonio Producing Director (and idealistic Chekhov fan) Kate, and country star-turned-actor Ben Shipwright (Lt. Col. Vershinin). She shows her drama chops by handling the comic beats without getting silly. Tracy Herring gives us her wild take on not one, but two different eccentric directors. Jamillah Gonzalez has her run of the stage as the obligatory Stage Manager/Narrator, as well as a prospective play director and the morally bankrupt Corporate Sponsor. And then there is Audrey Stonerock as Joby, who is literally the audience proxy – but she means well, and we like Audrey, who is nice both in and out of character.

All this, in a play about putting on a play, and how we observe that play, so that it knows it’s a play about players in a play putting on a play, and how the players get played. Play on!

Yes, this show is just as sharp, insightful and funny as it says it is. They even slipped in a couple of updated cultural references. Performances run through August 8; get tickets at indydistricttheatre.org.