Detailed design underscores play’s themes
Equally talented is Uncle Vanya’s design team, which features an impressive set by Todd Rosenthal complemented by Keith Parham’s evocative lighting. Generations of bric-a-brac line the walls and tables of the country estate, the foliage of its grounds visible through two large doors that lead outside stage right. The estate’s peeling, mint walls loom tall above the actors, who seem at times to be swallowed up by the estate. On the upstage wall rests an enormous, ornate frame, empty save for when an actor’s shadow fills its vacancy with precision.
Ana Kuzmanic’s costumes distill each character’s essence without reducing them to stereotypes. Yelena’s richly colored outfits exude her class and upbringing, while those who have been running the estate are more worn and muted. Rich with history, the detailed design helps reinforce the weight time places on each of Vanya’s characters.
Simple and moving
Noted for his contributions to the genre of psychological realism, Chekhov has long been lauded for his astute portrayal of humans in all of their absurd complexities. Playwright Annie Baker’s treatment of his text is reverent, contemporizing his language to sound more natural to modern audiences without compromising the richness of each character. While some moments of Falls’ production could more fully capture a sense of yearning, there is an unmistakable power in the play’s quieter moments.
