Mike Winkelman is retiring from AUM, and his final directing project there -- a solid production of Anton Chekhov's 1898 comedy: Uncle Vanya -- brings students, alumni, staff and faculty as participants in a challenging piece of World Theatre.
And, in case anyone might wonder -- amidst the characters' restlessness, weariness, boredom, unrequited love, family disruptions, and wallowing in individual and group exhaustion from doing very little -- yes...it is a comedy that Winkelman taps for all its nonsensical glory, garnering well-earned laughs along the way, while allowing the serious matters equal attention.
In rural 19th Century Russia, Vanya [Neil David Seibel] and his niece Sonya [Yahzane Palmer] have been long-term caretakers of an estate controlled by Vanya's brother-in-law and Sonya's father Alexander Serebryakov [Sam Wallace], a "celebrated" Professor who has returned with his new young wife Elena [Amy May], setting the house in turmoil by changing the status quo of the daily routine.
Dr. Astrov [Noah DePace] is on hand to treat members of the household, but seems more concerned with preserving the rapidly deteriorating forests nearby; Telegin [Worth Harris] and Yefim [Kelyn McIntyre] hang around with little to do; and Vanya's selectively hard of hearing mother Maria [Layne Holley], busies herself with socio-political pamphlets.
There's not much of a plot in Uncle Vanya [subtitled: "Scenes from a provincial life"]; it's more about rich people complaining about their mundane existence, petty grievances against one another, and attempted love affairs doomed to failure. They bicker and chatter on without acting on their desires, and then cry and lament when things don't go their way. -- The best they can do by the end is endure. -- Only the family Nanny [Katie Pearson], has a reasonable voice in wanting the status quo to be restored, though when it is, and nothing much has changed, we are left with only a slightly optimistic future.
Production values are top-notch -- Chason Marvin [Lighting], Mike Mann [Sound], Mike Winkelman [Scenic], Val Winkelman [Costume] -- supporting the actors and director's vision throughout.
Too much rapid and vocally unsupported speech makes several characters [and some important information] hard to hear; though Ms. Holley, Ms. Pearson, Mr. Wallace, and Mr. Seibel are always clear and articulate, delineating their characters and relationships with confidence.
Mr. Wallace's depiction of Serebryakov ranks high in this experienced actor's repertoire. And Mr. Seibel's Vanya: the play's central and most complex character, is subtle and surprising in his fluctuating nature, commanding our attention from start to finish, and allowing audiences to connect with Vanya's self-assessment.
An excellent way for Mr. Winkelman to end his directing career at Theatre AUM.
