Kanata Theatre balances comedy and serious intent in first-class production
Vanya and Sonia and Masha and Spike
By Christopher Durang
Kanata Theatre
Directed by Jim Holmes
Take a helping of Chekhovian despair to spice the lives of three discontented siblings named after characters from the 19th-century playwright’s works. Stir in a blender and deliver a modern domestic drama with absurdist leanings.
This may not sound like the ideal starting point for a satirical comedy/serious assessment of the purpose of life, but in the hands of Christopher Durang — the incisive and controversial author of such dramas as Sister Mary Ignatius Explains It All to You — his 2012 Tony award-winning Vanya and Sonia and Masha and Spike is both funny and thought-provoking.
References to watching a blue heron on the lake, a play by Konstantin or an ingénue character named Nina (think Chekhov’s Seagull) or to 10 cherry trees (The Cherry Orchard — if, as Sonia insists, 10 is enough to constitute an orchard) keep the idea of a send-up of Chekhov front and centre. But, although some familiarity with Chekhov’s plays adds an extra layer of fun, it is not necessary to appreciate Durang’s main focus of bringing a degree of harmony to the siblings as they eventually overcome years of discontent and dysfunctionality.
The domestic drama, dealing with the minor disruption of the daily routine, broken cups and appropriate wear for a costume party, is held together by the broad comedy that mocks the underlying theme of gloom and despair. Durang also throws in a little mock Greek tragedy via Cassandra, the prophetic cleaning lady, who also dabbles in voodoo to discourage Masha, the wealthy movie queen who bears all the household expenses, from selling the family home.
In an exceptionally well-cast and sensitively directed production, Kanata Theatre highlights the comic aspects without ever losing sight of the underlying serious intent. Just what is the direction of the caregivers’ lives after 15 years of looking after ailing parents? How difficult is it for a glamour queen to accept she is old enough to play a grandmother? Can deep family divisions be healed? Were the good old days really that good? And is it possible to step into the real world after years of isolation?
Headed by an outstanding, beautifully rounded performance from Chrissy Hollands as Sonia, each member of director Jim Holmes’ cast offers a clear understanding of character and is convincing in his/her role. Shirley Manh has a lot of fun as Cassandra, changing tone from doom-and-gloom predictions to ordinary domestic details on a dime. Bryan Morris is quietly convincing as Vanya, even through a massive monologue — the playwright’s self-indulgent rant about change and cultural demise. Jillian Facchin is suitably starstruck as the innocent and enthusiastic Nina. Jordan Anger is appropriately shallow and believable as the “himbo” Spike, given to taking off his shirt at any opportunity (à la Justin Trudeau).
Kim Strauss, as Masha, the most self-absorbed and least likable of the group, copes more than adequately with a difficult characterization, though a little more contrast might have made it even more effective.
Enhanced by Karl Wagner’s lighting and Dean Flockton’s charming set depicting a farmhouse in Pennsylvania, this production of Vanya and Sonia and Masha and Spike is highly entertaining. It is also surprisingly moving at some points, particularly during a lengthy telephone conversation when Sonia finally musters the courage to accept an invitation from her first beau.
Vanya and Sonia and Masha and Spike continues at Kanata Theatre to May 26.
Director: Jim Holmes
Set: Dean Flockton
Sound: Brooke Keneford
Lighting: Karl Wagner
Costumes: Martha Johnstone