Why Steve Carell Is Not the Star of ‘Uncle Vanya’ on Broadway
The last Uncle Vanya to cause a stir in New York was far more modest in physical size than the Broadway production opening tonight at Lincoln Center Theater’s Vivian Beaumont Theater (to June 16), yet left a more emphatic impression. It took place in a Flatiron loft, with the audience seated in two rows running the length of the property’s living room, with its brilliant actors—including Bill Irwin, Marin Ireland, David Cromer, and Will Brill (now starring in the season’s deserved biggest hit, Stereophonic)—performing inches from audience members’ feet. As hearts broke, guns appeared, and so many feelings went unsaid, all felt viscerally immediate and clear.
The much-anticipated LCT production—the Hollywood star Steve Carell’s Broadway debut—is, first of all, such an odd duck to look at. The Beaumont stage is Lincoln Center’s biggest, but what fills it here? Not much, and not much logically and engagingly. A picnic table. Random tables, chairs (kind of looks mid-century modern). The actors are in modern dress, and drift and shimmy all over the expanse—the floor looks like the cross section of tree. They sometimes seem to get lost, and so—despite some standout performances—unfortunately do we.
This production of Vanya, directed by Lila Neugebauer, has been adapted by Heidi Schreck, the playwright and performer of the exquisite, and rightly acclaimed, What the Constitution Means to Me for which she received Tony nominations for Best Play and Best Actress (this season, Playbill reports, it’s America’s most produced play). Schreck told Playbill she is a “big Russian literature nerd” who first fell in love with Chekhov when performing in a production of Three Sisters while in college. She studied Russian, taught in Siberia, and worked as a journalist in St. Petersburg. She and her husband, director Kip Fagan, met while working on a production of The Seagull. “Chekhov’s been a very big part of my life for a long time,” Schreck told Playbill.