Review: ‘Uncle Vanya’ at City Garage Theatre
- Dondre Tuck
- Feb 24
- 3 min read
Anton Chekhov’s 1899 play “Uncle Vanya,” adapted by Neil LaBute in 2020 and directed by Frédérique Michel at City Garage Theatre, unfolds on a Russian country estate where the routine of maintaining the property has hardened into resignation.
Vanya (Troy Dunn) and his niece Sonya (Anabela Nguyen) have devoted their lives to managing the estate in the service of Sonya’s father Serebryakov (Andy Kallok), a retired professor they once deeply respected. When he arrives at the estate with much younger wife Yelena (Angela Beyer), the emotional stability of the household fractures.
Long-suppressed disappointments rise to the surface and unreciprocated love comes into focus, forcing each character to confront romantic frustration, wasted potential and the quiet devastation of realizing that desire does not necessarily lead to change.
The ensemble’s commitment is evident from the start. What stands out most is the level of active listening across the board. Every exchange feels lived-in and responsive. Dunn’s Vanya is layered and vulnerable, teetering convincingly on the edge of despair to the point that his existential spiral feels alarmingly real. Beyer’s Yelena meets that vulnerability with restraint and depth.
Kallok’s Serebryakov, Nguyen’s Sonya and Taylor Lee Marr’s Astrov — a doctor who visits the estate frequently — deliver grounded, engaging performances that never lose sight of the play’s emotional stakes. And the chemistry among the cast is cohesive and consistent, reinforcing a web of longing and disappointment that drives the story.
Director Michel, who is also artistic director of City Garage, approaches the production with a clear understanding that this is a character-driven, dialogue-heavy drama. Her pacing and blocking give the piece a distinct rhythm. Beats land with precision, and scenes move with an almost musical fluidity, gently energizing moments that might otherwise fall flat. Transitions are seamless. The emphasis on actors remaining fully engaged, even in silence, strengthens the tension that lingers between lines.
The set, designed by City Garage’s executive director Charles A. Duncombe, is modest yet expansive, supporting both mood and narrative. An upstage cyclorama enlarges the intimate space, while wooden floorboards, white-paned window frames, and shoji-style screens frame the estate with simplicity and intention. Minimal, functional furniture, including a central table with a tea set, wooden chairs, an upholstered armchair, a bench, a birdcage and a swing suspended by red ropes, ground the environment without clutter.
Duncombe’s lighting, paired with Anthony Sannazzaro’s projections, adds depth and atmosphere, particularly during a thunderstorm sequence, where light and projection combine to create a palpable sense of turbulence. Josephine Poinsot’s costumes are understated but effective. Yelena and Serebryakov’s attire, for instance, communicates status and character before either speaks.
Thematically, the production underscores romantic frustration and inaction as forms of tragedy. Vanya loves Yelena. Astrov desires Yelena. Sonya loves Astrov. Confessions are made and vulnerability is exposed, yet nothing fundamentally shifts. Tension builds as if it should culminate in decisive change, but instead it reveals paralysis. The tragedy is not explosive. It is the quiet continuation of routine after hope briefly surfaces.
Despite its length at more than two hours, the audience during a recent performance remained engaged throughout. The world of “Uncle Vanya” feels immersive and fully realized. While the runtime could be tightened, the performances, direction and design come together to form a compelling and thoughtful production. This is a show worth seeing and one I would revisit without hesitation.
“Uncle Vanya” continues through March 29 at City Garage Theatre in the Bergamot Station Arts Center, 2525 Michigan Ave., Bldg. T1, Santa Monica, with shows Fridays and Saturdays at 8 p.m. and Sundays at 4 p.m. Tickets are $30 or $25 for seniors and students and pay-what-you-can on Sundays. For tickets and information, call the box office at 310-453-9939 or visit CityGarage.org. Run time is 2 hours and 30 minutes, including intermission.
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