Capturing the essence of a social and cultural hub is no easy feat, but playwright and director Matthew Gasda has shown a knack for tackling such challenges. In his 2022 play Dimes Square, he explored a slice of Manhattan life through a web of insecurities and rivalries. Now, Gasda has turned his attention to Chekhov’s Uncle Vanya, presenting it under the title Vanya on Huron Street at the Brooklyn Center for Theater Research in Greenpoint.
The name evokes Louis Malle’s film Vanya on 42nd Street, but unlike that deconstructed take on Chekhov, Gasda’s version stays close to the original text. There are no radical reinterpretations or experimental flourishes here. Instead, the production offers a straightforward rendition of Chekhov’s timeless masterpiece, exploring universal themes of longing, regret, and disillusionment.
A Faithful Yet Unpolished Production
The story unfolds as expected: Sonya (played with heartfelt sincerity by Mia Vallet) harbors unrequited love for Astrov (George Olesky), who himself is infatuated with Yelena (Asli Mumtas), the beautiful but detached wife of an older, pedantic professor (Derrick Peterson). Meanwhile, Sonya’s uncle Vanya (Bob Laine) wrestles with his own unreciprocated feelings for Yelena.
Gasda resists the temptation to modernize the play with overt contemporary signifiers. There’s a fleeting nod to the present when Astrov sings a snippet from The Magnetic Fields’ 100,000 Fireflies, but the costumes (designed by Bernardo Ortiz) are understated and the characters aren’t glued to their phones. The new translation by Albina Aleksandrova also steers clear of any attempts to overly update the dialogue, preserving the play’s classic tone.
A Mixed Bag of Performances
While the production holds true to Chekhov’s essence, it’s not without flaws. Some performances feel underdeveloped, leaving potential character nuances unexplored. Bob Laine’s portrayal of Vanya, however, offers a fresh perspective. Traditionally depicted as a pitiable, lovelorn figure, this Vanya brims with pent-up frustration and veers into aggression. In one unsettling moment, Yelena has to physically push him away as he teeters on the edge of harassment. This interpretation lingers long after the curtain falls, adding a layer of complexity to the character.
Mia Vallet’s Sonya stands out as the emotional anchor of the production. Her quiet resilience and vulnerability lend depth to a character often overshadowed by the more flamboyant Yelena and Astrov.
The Intimacy of Chekhov
Chekhov’s plays often thrive in intimate settings, and Vanya on Huron Street fits the mold. However, unlike Annie Baker and Sam Gold’s claustrophobic Soho Rep production in 2012 or Jack Serio’s immersive loft version in 2023, Gasda opts for a conventional staging. The audience sits in a standard configuration, and the loft space serves more as a functional backdrop than an active participant in the storytelling.
This traditional approach may disappoint those expecting a bold reinterpretation, especially given Gasda’s reputation for chronicling modern urban life in works like Dimes Square and Zoomers. Yet, there’s also a sense of relief in his decision to let Chekhov’s themes speak for themselves.
Timeless Themes, Uneven Execution
In Uncle Vanya, heartbreak isn’t explosive; it’s a slow erosion, a series of disappointments that wear the characters down. Gasda’s production captures this essence, even if it occasionally falters in execution. Despite its uneven performances and missed opportunities for deeper exploration, Vanya on Huron Street serves as a reminder of why Chekhov’s work endures.
Ultimately, Gasda’s restrained direction underscores the timeless relevance of Uncle Vanya. It’s a production that may not dazzle, but it resonates, leaving the audience reflecting on the quiet tragedies of unfulfilled desires and unrealized dreams.