With the musical as the only form of theater that seems to be profitable anymore and keeping in mind that “the theatre is dying” is screamed from New York to the Globe Theatre in London, the drama department’s production of Anton Chekhov’s “Uncle Vanya” is an example of everything theater can do right.
There is no better way to contrast the sometimes overbearing and melodramatic emotions of a contemporary musical than the subtlety of a Chekhov play. The emotions move so smoothly and the characters transition to such far places in such an inconspicuous fashion that it almost seems as though nothing is happening throughout the play. To a point, it is true. Nothing happens in the play, which is what makes it so tragic. The dimension of the characters in the play and the subtlety of the acting make “Uncle Vanya” something that is not seen as often in theater as one would think