Uncle Vanya
TUTA Theater

Critic's Choice - "..an astute, mature cast who let every innocuous silence and offhand gesture expose the aching hearts of their placid characters" - Chicago Reader
Don't Miss!; 4 stars - "..heartbreakingly genuine performances" - TimeOut Chicago
Recommended “..TUTA's great strength is the theatrical representation of intense intimacy…Djukich is the kind of theater artist who just throws his loyal actors into a room and works a scene to within an inch of its life” – Chicago Tribune


3/11/08 - 4/13/08

8p (Previews 3/11-12). 8p Thu-Sat 3p Sun


Critic's Choice - "Considering Chicago's fascination with in-your-face theater, where big and obvious is often mistaken for good, it's no surprise that Chekhov—the modern master of understatement and inaction—is routinely screwed up so badly. Thankfully Tuta Theatre Chicago director Zeljko Djukich understands that Chekhov's hilarious and harrowing drama rings true when it isn't forced, and he's assembled an astute, mature cast who let every innocuous silence and offhand gesture expose the aching hearts of their placid characters. As in The Cherry Orchard, a disgruntled group of relations, neighbors, and hangers-on dither on a provincial estate, nursing impossible dreams and hoping their mundane failings might at least achieve tragic stature. On a ballroom-size floor of bleached wood (by set designer Martin Andrew), Djukich arranges Chekhov's pathetic clowns like once treasured but now discarded figurines. The careful detailing of the group's dissipation, bitterness, regret, and failed idealism is at once heartbreaking and exhilarating" - Justin Hayford, Chicago Reader 3/20/08


Don't Miss!; 4 stars - "This new edition of Chekhov’s paean to regret can claim multiple authors. There’s the doctor-turned-writer himself, of course, as well as Peyankov and Christensen, the team behind numerous translations of Russian plays for the now-defunct European Repertory Company. But there are also contributions from a couple of uncredited guys: In the course of the evening, Djukich’s actors perform songs by Bob Dylan and Delta bluesman Mississippi John Hurt.

Yet this isn’t a postmodern revision; instead, it’s a faithful translation of a melancholy script that always suggested music. The song choices, like certain touches in Natasha Vuchurovich Djukich’s costumes, are simply modern accents enhancing the timeless, universal aspects of Chekhov’s provincial Russian tale—no matter how much we’re disappointed by our current situation, we keep hope alive that something better is on its way.

Martin Andrew’s balsa wood–like set suggests a blown-up architectural model, mirroring Chekhov’s miniaturization of class issues (and it’s yet another example of how the Chopin basement’s limitations inspire scenic-design innovations). Djukich keeps the focus on the human relationships, priming heartbreakingly genuine performances from Maclin as put-upon Vanya and Green as the unattainable object of his affection. Chicago stage legend Houston blusters appropriately as the not-so-big-time professor, and Stone nails the fooling-herself duplicity of Vanya’s dutiful niece: She’ll just keep suppressing the rage, and hope for a reward in the next life" - Kris Vire, TimeOut Chicago 03/19/08


"It's been 14 years since Louis Malle made his famously minimalist "Vanya on 42nd Street." Perhaps somebody should now roll some cameras into the basement of the Chopin Theatre and dub TUTA's new Chicago-style Chekhovian excursion as "Vanya on Milwaukee Avenue." Or "The Wicker Park Vanya."

But don't hold your breath -- dramatic depictions of people stuck in an existential rut aren't at the top of major studios' priority lists. But Zeljko Djukich's current voyage into Chekhovian tragicomedy is striking for its contrasts with the movie. The two might share that bare-walls aesthetic, but whereas Malle had a conceptual agenda, Djukich is the kind of director who just throws his typically loyal actors into a room and works a scene to within an inch of its life.

As its many fans well know, TUTA's great strength is the theatrical representation of intimacy. And, because we're here talking Chekhov, that intimacy is of course unable to effect any actual change in anyone's circumstances. If you see "Vanya" as a series of pointlessly intimate moments -- and you'd have a good case -- you'll love this take.

In part due to fiscal necessity, Djukich minimalizes the visuals -- reducing the design elements to their skeletal frames. He hangs his show on live connections between skilled actors. Although there's a skillfully toned performance from Andy Hager, who's far more disciplined as Astrov than I've ever seen him in the past, this "Vanya" mostly relies on its women.

The best scene of the night is the encounter between Stacie Beth Green's classy Elena and Jacqueline Stone's carefully emotional Sonya, wherein both women get a sense of their unchanging place in this hopelessly hierarchical world. In this and most other scenes, Djukich has his actors adopt a hyper-colloquial style -- it kept reminding me of a more vulnerable version of "The Gilmore Girls" -- and it's both apt and arresting.

I wouldn't claim the individual scenes are perfectly integrated. Nor is everyone perfectly cast -- Trey Maclin, who plays Vanya, is a talented actor, but he reads here as too young to fully capture the bleakness of middle-age ennui.

But while the show could use more pace, many of the two-person encounters have that rare sense of unpretentious spontaneity that always enhances Chekhov. And Djukich's unusual use of proximity and distance is fascinating.

The playing area is much deeper than the audience section. One minute the actors are right in your face and then they retreat far away -- almost as if they'd headed off down Milwaukee, without knowing they were on a diagonal street. Chris Jones, Chicago Tribune 03/15/08


“The Utopian Theatre Asylum (TUTA) presents two hours of intense and refreshing entertainment with Chekhov’s "Uncle Vanya," directed by Zelijko (pronounced Jayco) Djukic and translated from the Russian by Steppenwolf ensemble member Yasen Peyankov and Peter Christensen at the Chopin Theatre in the heart of Wicker Park. Described as a black comedy, "Uncle Vanya" is Chehkov’s jaded glimpse of life on the palatial country estate of a retired professor, played by the distinguished and acclaimed veteran actor Gary Houston. At the risk of offending the offspring of countless Imperialist Russians, Russian names will not even be attempted. The loss is not so great. The characters are so vivid and individual, names hardly even contain them.

Gary Houston never skips a beat as the elderly, ailing professor. At one time he was an academic authority, often consulted for his expert opinion. Now he’s reduced to a quivering husk of aches and pains. His cries and complaints become almost as excruciating to his family – his beautiful 27-year-old wife, Elena (Stacie Beth Green) and his plain daughter, Sonya (Jacqueline Stone). Frantic, they send for Dr. Astrov (Andy Hager). After attempting examination, Dr Astrov is shouted out by the agonized professor as a charlatan. Dr. Astrov says he has gout, the professor believes its rheumatism causing his pain. But Dr. Astrov is an old friend of the family and Nurse Marina (Joan Merlo) insists that he stay for a drop of vodka.

The house is the property of Maria, the mother and the mother of the professor’s first wife. She lives there with her son, Ivan or Vanya (Trey Maclin), Sonya’s uncle. Elena, the professor’s beautiful young wife, has Vanya beside himself and feeling like a failure. The more he begs for her affection, the harder she fights him off and insists that she is in love with her husband despite his age and incapacity. She insists that they have a deeper bond than Vanya could ever imagine.

Dr. Astrov is a blessing and a curse on the family. He’s as angry and frustrated as everyone shackled to the estate, but gets out to all the families in the area. He treats the wealthy and poor alike. He seems to have a little more perspective than the rest. Unfortunately Dr. Astrov likes to drink. When he’s had a little too, not only does he become noisy, he talks too much. He confronts Vanya with the futility of his situation and stirs him to near violence.

Sonya, designated as the plain daughter, yet played by the lovely, earthy Jacqueline Stone (go figure!) adores Dr. Astrov. She does not understand that he is as kind and caring to Sonya as he is to anyone else. He’s just being a doctor. His work is not done until he enables Elena to see what she really wants. Andy Hagar is superb as Dr. Astrov, the healer who is only human. He is part of the family, but at the same time would not involve himself in their problems for all the money in the world. His performance is the center of gravity. But he only steals the show because of the hardworking and talented supporting cast. No one skimps on emotion, grimace and despair.

Keith Parham’s lighting design softly creates the feeling of a nice day in a troubled home. Ingenious set design by Martin Andrew employs movement rather than costly sets to allow a full view of the house. By simply moving the dining table and the clock in each scene, the people seem to be shifting from one end of the room to another. Costume designer Natasha Vuchurovich Djukich did a great job of recreating the subtle and intricate designs that separate the different classes of people on the estate. Each character is garbed to look both presentable and comfortable enough to spend a day at home.

Director Zeljiko Djukich takes Chekhov’s work off the dry pages and creates a breathtaking work of art. "Uncle Vanya" never has a dull moment. Anyone wishing to learn about the work of Chekhov has a great opportunity by visiting The Chopin Theatre, 1543 W. Division Street. "Uncle Vanya" continues through April 13, 2008. Visit www.tutato.com for tickets and information or phone 847-217-0691" - www.steadstyle.com

Author
Anton Chekhov

Director
Zeljko Djukic

Performers
Andy Hager, Trey Maclin, Jacqueline Stone, Stacie Beth Green, Gary Houston, Christina Irwin, Joan Merlo, and Shaun Whitley.

Production
Set Design - Martin Andrew; Costume Design - Natasha Djukic; Technical Direction - Carter Robbins; Lighting Design - Keith Parham; Props Design - Tramon Crofford; and Stage Management - Helen Colleen Lattyak.
Photos courtesy of very talented Vojkan Radonjic.

Tags: Theater, New Europe, 2008