Stupid Fu**ing Bird @ Pearl Theatre Company

We’ve all seen so many adaptations and incarnations of all the greats. And we all know it gets repetitive, redundant and more times than not completely superfluous and vein.

Then a “sort of” adaptation comes along and changes how you see and experience the classics forever. And how does it begin?

…with yelling at the actors to “start the f^cking play!”

Stupid F^cking Bird is so damned refreshing. Not only does it brilliantly satirize Chekov-isms, but it has such amazingly powerful statements about the theatre we patronize today. Each and every scene is littered with asides of incredible statements and ideas that physically punch you in the gut, and when you’re thinking about them late (because  you can NOT stop talking about them), you have that moment of: Holy crap. Were they experiencing this in the 1800s too?

 
The plot is literally that of the Seagulls, except in the end of this one, we don’t know if Conrad kills himself. Christopher Sears plays Conrad and he is hands down, one of the most captivating individuals you will lay your eyes on this entire season.  His intensity and passion never falters, almost as if he’s running a marathon the duration of the show.  Every moment, every subtlety you pick up on because he has your constant attention. Bianca Lochtefeld plays his mother, Emma, and she is absolute perfection, delivering a monologue in the second act that chills you to the bone.  Joey Parsons as Mash is hilarious; totally nailing and epitomizing the over the top “poor me” Chekhovian female.

Davis McCallum’s staging could not be more perfect or powerful, utilizing a unique space to the fullest. His meta approach both invites and isolates you. Sandra Goldmark’s set design was so visually stimulating and truly allowed you to focus on whats being said and whats not being said in an environment that made us feel that we were all in a play together. Her concept for act one was vastly different than act two, mirroring the point that act one is merely a rehearsal, act two is life.

This is one not to miss. Something this honest, raw and thought provoking only comes around once in a blue moon. Run to go catch this stupid f^cking bird before another play shoots it out of the sky.

Review By: Brittany Goodwin

Photos By: Russ Rowland

Uncle Vanya @ The Pearl Theatre

Chekhov's masterful way of exonerating a myriad of themes and emotions from the mundane is incredible. A director of such a piece as Uncle Vanya is not charged with presenting the brilliance of the play but emoting its undertones--bringing to life its very nature via his or her interpretations.

Uncle Vanya, as rendered by Artistic Director Hal Brooks at the Pearl Theater could have been more precise with one Chekhov's masterpieces. Relatable and almost satirical themes such as unrequited love, the never-ending search for happiness, taking advantage of hospitality and family, selfishness, jadedness, brilliance inundated by mediocrity, helplessness that change is impossible at an older age, and that death is the ultimate form of peace were all present in Hal Brook's rendition of the play. However, Scenic Designer Jason Simms, Costume Designer Barbara A. Bell, Lighting Designer Seth Reiser, Sound Designer M. Florian Staab and Hal Brooks did not share the same visions of Uncle Vanya.

The costumes were of the late 19th to early 20th century, but the speech was almost modern. The set had difficulty orienting the viewer. The sound of horses was barely audible in some scenes but powerful in others. These discrepancies created unnecessary noise that Production Stage Manager Kevin Clutz and Production Manager and Technical Director Gary Levinson could not manage.

Mostly, the cast was humorous and enjoyable; albeit loud. Ivan Petrovich (Vanya), played by Chris Mixon, had me laughing each time his red faced character barged in. Mixon conveyed an envious 47-year old convinced that he had despairingly dedicated his life to the wrong ideals with gusto.

Similarly, Mikhail Lvovich Astrov's (Bradford Cover) playfulness and smooth interaction with the cast was always welcome. Cover made the dichotomy of the brilliant, idealist doctor stuck in the sticks believable. Sonya (Michelle Beck), Vanya's niece, showed the folly of unrequited love, youth and plainness while eliciting a reaction between laughter and pity.

Ilya Ilych Telegin (Waffles) an impoverished neighbor with a knack for the guitar played by Brad Heberlee; Marina, the Eastern Orthodox and affable family nurse played by Robin Leslie Brown; and Mrs. Voinitsky (Carol Shultz), the intelligence worshipping and ashamed mother of Vanya aided the cast in rendering the air of a country farm arrested by its unruly house guests: a young wife Yelena (Rachel Botchan) and her husband, Vanya's brother-in-law, Retired Professor “His Excellency” Alexander Serebriakov (Dominic Cuskern).

Cuskern presented Serebriakov easily as the unknowingly self-absorbed academic. Contrarily, Botchan’s Yelena lacked chemistry with the cast. Yelena was not portrayed as the type of woman able to seduce an entire household with her charm. At times she even seemed awkward on the stage. 

In all, I certainly laughed and enjoyed my first Chekhov experience. Although, the magic from his captivating prose was not fully captured by Hal Brooks. 

Review By: Alexandra Lipari

Photos By: Al Foote III