In Mourning for My Life

Seagull – Steppenwolf Theatre Company

Possibly the most famous two lines of any Chekov play opens this production, a play that’s been translated, adapted and directed by ensemble member Yasen Peyankov. The end result is a beautiful, rich and completely enthralling presentation. Masha is asked, “Why do you always wear black?” Her dour response is, “I’m in mourning for my life. I’m unhappy.” This opening conversation sets the tone for the entire play, and prompts the first laugh of the evening. It could’ve, however, been uttered by almost any of the other characters in this play. No one in this comedy seems particularly happy with his or her existence, and in their melancholia we find humor. However, there’s also plenty of promise in the air, which fills the play with possibilities of love.

Anton Chekov’s first major play was written in 1895 and performed the following year. However, it wasn’t until 1898 that it was declared a hit, when Constantin Stanislavski directed a successful production for the Moscow Art Theatre. The play, which is set at a country lake estate, is actually inspired by the site at which the playwright composed his masterpiece. 

Aspiring, young playwright Konstantin Treplev is getting ready to present the premiere of his latest work on an outdoor stage. He’s written this short drama for beautiful Nina, the neighbor girl with aspirations to become an actress, and with whom he’s completely infatuated. Konstantin is also secretly hoping that Irina Arkadina, his famous actress mother, will finally be impressed by his talent. She’s arrived at the estate of her ailing brother, Peter Sorin. Konstantin, his nephew, has been staying there, while working on his writing. Boris Trigorin, a famous Russian author, and Irina’s handsome lover, has accompanied her on this trip, much to her son’s jealous disapproval. 

Also living at Peter Sorin’s estate is Masha (the young woman who always wears black), who’s secretly in love with Konstantin; her mother, Polina Andreevna, and her father, Ilya Shamraev, a retired military man, both work there as caretakers. Two friends are also visiting Peter: Yevgeny Dorn, the village doctor, and Semyon Medvedenko, a local schoolteacher and Masha’s husband. It’s in this first act that Chekov sets up a series of romances: Konstantin loves Nina, Nina’s in love with Trigorin, and vice versa, but Irina also loves Trigorin, as well. Masha loves Konstantin and Semyon loves his wife, Masha, although she doesn’t seem to care. The good doctor attributes all this romance to the influence of the lake.

Yasen Peyankov has directed this lovely production with passion and joy. He’s expertly taken each of his talented cast on a journey of self discovery through this tale of love and art. He’s led the actors on a voyage in search of their individual characters, guiding them toward honesty, empathy and understanding. Mr. Peyankov has brilliantly lifted each of Chekov’s characters from the page of this script and breathed fresh, new life into them, particularly by way of his original translation and adaptation. 

Talented scenic designer Todd Rosenthal must be heartily congratulated for the inventive, imaginative way in which he’s filled this versatile and exciting new theatre space, installing his breathtaking artistry from floor to ceiling. Every square inch of the impressive, in-the-round Ensemble Theatre has been transformed into Chekov’s world, including the four aisle ways that lead through the audience. These exits become the path to Nina’s house, the hallway to a sitting room, the doorway to the outside and the stairs to the rest of the house. Lighting Designer Marcus Dashi has bathed the stage in moonlight and magic, while Costume Designer Ana Kuzmanic, choosing not to labor over minute details, provides the essence of turn-of-the-century Russian fashion in her lovely, contemporary costumes.

There’s much to like about this cast. Joey Slotnik is excellent as Boris Trigorin. He offers a subtle, masculine strength along with a kind of middle-aged vulnerability that makes this insecure writer especially endearing. Whether falling under Nina’s charms or making love to Irina, this actor’s honesty shines like a burning candle. He’s matched by Karen Rodriguez’s solid, superbly wrought Masha. From this actress’ first lines to her final scene, she’s absolutely captivating quite funny. While never pulling focus, whenever this actress is onstage, our attention gradually drifts toward her incredibly expressive face, simply to enjoy her reactions to what’s going on around her. Made rigid by unrequited love, the actress creates a Masha who’s unwilling to bend, while never weakening in her love for Konstantin. 

Lusia Strus is quite perfect as Irina, the grande dame of the Russian stage. Her hilarious histrionics reveal this woman as an actress for whom “All the world is a stage,” seems to be her belief. She’s always “on stage,” even when she isn’t. Everything Ms Strus says and does seems absolutely appropriate, despite her fluctuating moods, easily ignited temperament and theatricality. The ridicule she dumps on others, particularly her overly sensitive son, seems in keeping with this woman’s high self-esteem. Lusia’s best scene (of many) is when she pleads desperately with Trigorin to return with her to Moscow and forget this silly, young Nina. It’s all capped by sitting down and casually applying her lipstick.

Eric Simonson creates a gentle, likable, sincerely caring Dr. Dorn, the only character offering support and comfort to everyone else, even beyond his medical skills. Steppenwolf co-founder Jeff Perry is humorous and soundly convincing as Peter Sorin, an elderly gentleman who understands that his time on earth is nearing its end and feels the regret of all the roads he hasn’t taken. 

Namir Smallwood, so brilliant in Steppenwolf’s “Bug” and “True West,” is passionate and often pitying as Konstantin, particularly in his quieter moments. His scenes with Nina, particularly in the final scenes of the play, are especially heartbreaking. And, as Nina, the incomparable Caroline Neff is always authentic and astounding, as she is in every role she’s played. Although living her best life through rose-colored glasses, as though waltzing through a romance novel, this captivating young actress is always grounded and sincere. Both Nina and Konstantin have lost their way by the final scene. Their emotional instability, foreshadowed in Act I, grows and overtakes the two characters until it consumes them by the final scene. Tiny glimmers of the abyss where they’re headed appear early on, and their madness snowballs as Chekov’s comedy drives toward the end of the story.

This is, all together, a very enjoyable, deeply touching and often comical production of one of theatre’s classic plays. Whether it’s the audience’s first meeting with Chekov or a return visit, this fine production features several excellent and very fine performances that make Chekov’s story feel honest and realistic. The playwright’s tale of artistic and romantic conflict offers so many memorable characters. It provides, under Yasen Peyankov’s expert direction, many laughs and a dose of bittersweet sadness. It’s a truly enjoyable production to launch Steppenwolf’s long-awaited, flexible new theatre venue, and well worth the journey through the woods to Peter Sorin’s Russian lake house.

Highly Recommended

Reviewed by Colin Douglas Presented May 10-June 12 by by the Steppenwolf Theatre Company, 1650 N. Halsted St., Chicago.

Tickets are available in person at the box office, by calling audience services at 312-335-1650 or by going to www.steppenwolf.org.

Additional information about this and other area productions can be found by going to www.theatreinchicago.com.