Steadstyle Chicago
	February 2010 Theatre Review by Joe Stead
	Uncle Vanya "There is something wrong in this house," we are told in Anton Chekhov's eternally popular classic of unrequited love, desire, boredom and despair, "Uncle Vanya".  But it's hard to tell anything is awry from the delightfully rich and full-bodied account now at Strawdog Theatre.  You may not find a livelier or more accessible approach to this work, indeed it is storefront theatre at its zenith.  Director Kimberly Senior certainly understands how to wring every last ounce of wit and irony from the master's work, which in lesser hands often comes across as excessively dry, humorless and tedious.  Watch the almost casual nonchalance of Tom Hickey's title character as he tosses off the line "You might as well shoot me".  Or the gales of laughter that erupt after Michaela Petro and Shannon Hoag have shared an intimate, soul-baring confession of how bored and depressed their characters feel.  Who knew despair could be this much fun or in fact liberating?  Not all of the Strawdog ensemble members feel ideally cast here, yet they are all so thoroughly invested in the moments and in Senior's thoroughly confident direction it makes no difference. Chekhov planted a fairly idyllic setting for all his characters' gloom and depression in a supposedly peaceful Russian country estate, which has been cared for over the past quarter century by the brooding title character.  Vanya is despondent that the woman he pines for, Yelena is squandering her youth and beauty in a stale marriage to the elderly professor Serebryakov.  The latter, a retired academic who spent his entire career spewing out other people's thoughts as his own, was once admired by Vanya, who now simmers with contempt and malice. For her part, Yelena eschews the idea she married for money, but now finds herself utterly bored and useless.  "We're both such boring, tiresome people," she tells Vanya, "that's why we're friends".  Astrov suggests that true friendship between the sexes is never possible until they have passed the stages of acquaintances and then lovers.  The sad thing is the alcoholic Astrov has not loved anyone in a great while, and he claims his heart is incapable of loving.  Vanya's niece and Serebryakov's daughter Sonya harbors a secret crush on the eligible doctor and renowned naturist.  "He heals people and he plants forests," Sonya shrieks with both reverence and schoolgirl adoration. The big-hearted Sonya isn't conventionally attractive and realizes that her feelings toward Astrov are likely unrequited, to which Yelena expresses understanding and sympathy.  "People like him are rare and they must be loved," she insists.  Astrov's crusades against the destruction of nature by man-made progress feels as timely as if his rants were written down this morning.  It's thought provoking to realize that the environmental movement that is so hotly debated these days had its champions over a hundred years ago.  The message articulated by the play that "the world will end not because of war, but of hate" is chilling to consider. Astrov fears that man will ultimately destroy that which cannot be created.  "The devil of destruction lives in everyone of you," Yelena charges Vanya.  And yet in spite of such allegations, Chekhov leaves open a small window of light and hope that things will turn out for the best.  It is a welcome ray, which suffused with the healing powers of love and laughter, refuses the work from becoming too bitter and straying into the realm of an outright tragedy.  It's easy to see here why theatres are so enamored of Chekhov's work, which in Curt Columbus' smart, concise and unpretentious translation feels as modern as any play being written today. The entire ensemble impresses, but particular praise must be given the quartet of Kyle Hamman, Tom Hickey, Shannon Hoag and Michaela Petro, who are truly masterful to watch.  Tom Burch's clever and tranquil setting, with its transparent flowered motif and wood paneled walls evokes the gentle homespun country estate in Strawdog's intimate and awkward two-sided space.  Aly Renee Greaves' handsome period costumes and Mikhail Fiksel's charming Russian flavored sound design keep the play rooted in Chekhov's original period without making it feel like a museum artifact.  Director Kimberly Senior's sly sense of mischief and Columbus' meaty, modern prose allow "Uncle Vanya" to breathe full and clear.  This is Chicago's Off Loop theatre at its finest.  Strawdog Theatre Company presents "Uncle Vanya" through March 27, 2010 at 3829 N. Broadway in Chicago.  The play runs 2 hours 20 minutes with intermission.  Performances are Fridays at 8:00 p.m., Saturdays at 4:00 & 8:00 p.m., and Sundays at 7:00 p.m.  An industry night performance is Monday, March 8 at 7:00 p.m., Theatre Thursday is Thursday, March 18 at 8:00 p.m. and there is an added performance Thursday, March 25 at 8:00 p.m.  Tickets are $10-40 and are currently on sale at 773-528-9696 or www.strawdog.org.   About Joe Stead Joe Stead has enjoyed a lifelong passion for the theatre, which has involved acting, directing, producing, designing and reviewing for the past twenty-five years.  He served as founder, producer and Artistic Director of Curtain Up Productions in Baltimore, Maryland and Four Star Players in Tampa, Florida.  Favorite productions have included "Life With Father," "Deathtrap," "The Odd Couple," "The Miracle Worker," "Brighton Beach Memoirs," "You're A Good Man, Charlie Brown" and "Godspell".  He has also performed leading roles in "Fiddler on the Roof," "Pippin," "The Phantom of the Opera," "The Front Page," and most recently as Hucklebee in "The Fantasticks" for Waukegan Community Players.  Joe holds a degree in Commercial Art from Tampa Technical Institute.  As a critic, he has reviewed everything from Broadway to community theatre and major regional theatres throughout the United States including the Kennedy Center in Washington, D.C., Paper Mill Playhouse in New Jersey, Goodspeed Opera House in Connecticut, and the Asolo Theatre in Sarasota, Florida.  Since 1998, he has been a proud resident of Chicago, the greatest theatre city in America.  He served for two years as Theatre Editor for College News and Central Newspapers.  He created the website Steadstyle Chicago in 2000 to showcase the city's outstanding and diverse theatre scene.  Joe was proud to serve alongside a distinguished panel of theatre professionals as a judge for two seasons of Speaking Ring Theatre's "Vitality" Festival of original short plays.  His most fulfilling role, in addition to reviewer and all-around theatre fanatic, was as director of the 2007 production of Peter Shaffer's "Equus" at Actors Workshop (now Redtwist) Theatre, which was nominated for five Joseph Jefferson Award Citations and won for Best Actor (Peter Oyloe).