by Andrew Savoy
Going into this, I was worried about how I would be able to write a review about a play that I knew nothing about. It is one thing to assess how a theatre troupe handles a known commodity, or how Hollywood manages a beloved story, but an entirely different thing to go in basically blind. The last live play I watched was an SLVHS student-written play that my daughter was in, so I had at least read the rough draft of the script. That’s comfortable ground for me as I’ve put words on pages, have read and critiqued, other neophyte writers for many years.
The night started off with a little snafu with seating- my wife and I were pointed in one direction while our seats were on the opposite side. That was okay because, aside from being understandable opening night hijinks, it allowed us to talk to other people with a sense of humor, say hello to strangers, and laugh with them about the confusion, a very good thing. What’s a community theatre without a little community to go along with it?
The setup had most of the action on the floor in front of the stage, with the feeling of a concert in the round. Having the performance close, with performers moving offstage through different routes, will have your head on a swivel trying to take in as much of the action as you can. On the raised stage was a simple set of doors that were used to great effect in differentiating scenes that were set either indoors or outdoors. The props and decorations were noticeably sparse, but all used to great effect. Even and especially an unexpected vegetable. Simplicity in design, succinct in usage for story purposes, there was little doubt about what type of scene was being played out. The dialogue of the troupe, and the minimal effects, were clear and comfortable to hear as well.
The play is “The Cherry Orchard”, the final major work by Russian playwright Anton Checkov that premiered in January of 1904. It has been debated whether this is a comedy farce as Checkov intended, or a tragedy as the original director, Konstantin Stanislavski translated it. In MCT director Bill Peters’ hands, I found it to be a delightful balance of both. There are somber moments and laughs aplenty, and the audience is adeptly kept on their toes as to where particular scenes will go. Of the play itself, many parallels can be drawn from the turn of the 20th century Russia, the ever changing struggle between the classes, and the modern day’s exact sameness of class disparity. Checkov had a way of capturing the humanity of the changing times where and when a seismic shift was occurring in real time for his countrymen.
Overall the whole cast performed admirable and believably, with some really strong performances. Opening night jitters may have been there, but I couldn’t tell from the strength of the acting. I would love to mention every single cast member and character, but for brevity’s sake I’ll hit upon some highlights.
Scott Kravitz, as Lopakhin, starts the evening off as the brief emcee and opening character. In no time flat the play goes from his solo start, to introducing Alie Mac as the serious and worried Varya, to a burst of frenetic energy as many of the other major players arrive all at once. Throughout the opening act there is plenty to see both in front of the audience and beyond the glass doors of the stage.
Jim Goldrup, as the nearly feeble old servant, Firs, was a lot of fun to watch even when he was not a focal point. His ability to impart the frailty of his character with both physical and verbal acuity was a joy to watch.
Pretentious as the character Yasha could be, Aki’o Nanamura played the snobby wannabe upper-crust who isn’t, to near perfection. His work was a delight without being distracting to the scene taking place otherwise.
Nat Robinson, playing Pyotr who is an insufferable and pretentious intellectual, gave a performance that could have been overacted by a lesser actor. The character could have been played as grandiose and condescending to a detriment, but he had a fine restraint. At one point I remarked to my wife that he reminded me of David Cross in “Arrested Development” when his character is earnest, yet clueless as to the absurdity of what he’s saying. Cross steals the scene.
Overall, the Mountain Community Theater exceeded my expectations. Go support them, because you won’t be disappointed in the least.
Did I mention the unexpected vegetable?
** Things to know: Bring cash! A variety of beverages for both kids and adults, and treats are available when you walk in. There is no charge for this, but they do ask for whatever donation you feel like providing. Arrive a little early so you can mingle, or look at playbills adorning the walls from previous performances through the years. And please, for the love of theatre, silence those darn cell phones!!
