A Muddled ‘Real Ivanov’ Strains for Modern Resonance

It has been nearly 140 years since Anton Chekhov introduced “Ivanov,” but the play’s title character is in some respects a very contemporary protagonist. A navel-gazing son of privilege who has reached his mid-30s without accomplishing much of anything, despite early signs of promise in this case.The particulars of Nikolai Ivanov’s dilemma may be specific to the mid-to-late 19th century, a period of social and economic transition in Russia in which high-born landowners were left stripped of wealth. But as is typical of Chekhov’s work, this tragicomic tale — which, unlike many such hybrids, does not end well — explores human nature as much as the playwright’s era.Director and writer Laura Strausfeld has titled her new adaptation of the play, now running off-Broadway at the Lynn F. Angelson Theater, “The Real Ivanov,” suggesting a revisionist approach or one that tries to dig further into Nikolai’s psychology. (The program lists the subtitle “A Comedy About Despair.”) But Ms. Strausfeld, a Chekhov scholar who has curated city celebrations of his birthday for more than 15 years, has stated that her version “hews close to the original, but removes repetition characteristic” of works of its vintage.“Real Chekhov” presents the play’s four acts in roughly 100 minutes, with no intermission, and if the result doesn’t feel unnecessarily reduced, neither does the production fly by, due to uneven performances. Sam Underwood, the English actor cast as Nikolai, also a producer, is best known for his roles in TV series such as the “Dynasty” reboot and “Fear the Walking Dead,” and his strapping presence and easy charisma add a compelling edge to the character’s relentless melancholy.For all his whining, in fact, this Nikolai emerges as one of the less irritating figures in the production. In trying to make play’s humor and pathos accessible to a modern audience, Ms. Strausfeld and her design team can steer her company in the direction of melodrama or camp. Mr. Underwood’s entrances are sometimes accompanied by sudden flashes of harsh lighting (by Jiyoun Chang, who also provided the spare set) while the other actors freeze in silence, as if to indicate that the sense of paralysis Nikolai repeatedly describes is contagious.When they do speak, the players can seem overwrought. Kimberlee Walker is particularly conspicuous as Babakina, the widowed daughter of a wealthy merchant. Perhaps prodded by the director, she parlays her character’s entitlement into histrionics that make her seem as goofy as she does smug, and not in a good way; at a recent preview, I found myself recoiling at her periodic screeching.As Anna, Nikolai’s long-suffering, tuberculosis-ridden wife, who renounced her Jewish family and faith to be with him, Ivory Aquino can come across as too much of a nag, to the point that you begin to think the two deserve each other. To her credit, Ms. Strausfeld presents the antisemitism expressed by others in evaluating Anna with a chilling matter-of-factness that emphasizes its enduring relevance.A younger woman, Sasha, the daughter of a prosperous and well-connected couple who pines for Nikolai, even as he remains heavily indebted to her parents, emerges as perhaps the most interesting character, thanks in part to a graceful, precocious portrait by Amelia Mason. Sasha’s observation that “any nineteenth century woman would prefer loving an unfortunate man than a fortunate one because we like to have something to do” proves one of Ms. Strausfeld’s more clever tweaks.Ella Matza’s costumes contribute to both the elegance and the obviousness of the staging, cloaking most of the performers in cool shades of cream and tan, with a mint green skirt worn by Ms. Mason providing a subtle contrast and Mr. Underwood’s black jacket offering a starker one. One only wishes that the direction and acting in “The Real Ivanov” were as consistently, smoothly coordinated.

A Muddled ‘Real Ivanov’ Strains for Modern Resonance

A Muddled ‘Real Ivanov’ Strains for Modern Resonance

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