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The Duel
Based on the novella by Anton Chekhov
Adapted by Frank Galati
Directed by Luda Lopatina
October 12 - November 12, 2000
Thurs., Fri., and Sat. 7:30 pm
Sat. and Sun. matinees at 3:00 pm
European Repertory Company
In association with Steppenwolf Theatre Company
Steppenwolf Studio Theatre
1650 N. Halsted
Chicago, IL 60614
http://www.steppenwolf.org
Chekhov gets a great amount of attention this theater season in Chicago in a number of productions with fresh new translations and adaptations. Earlier this last month, The Hypocrites produced a near-definitive production of THE CHERRY ORCHARD, which will be restaged later this summer at Theater on the Lake. Later this season, another fresh new translation of UNCLE VANYA will be produced on the Steppenwolf Studio stage. Now, European Repertory has begun its season with this adaptation by Frank Galati of THE DUEL.
Unlike UNCLE VANYA and THE CHERRY ORCHARD, THE DUEL began its life as a novella. This new adaptation by Galati, produced by European Repertory, retains some novella-like attributes without overpowering the audience with too much extraneous information, and still creates a wonderful dramatic tension in true Chekhovian style. European Repertory discovers, in Galati’s adaptation, Chekhov’s story that involves philosophical questions of man’s goals and aspirations in life, as well as Chekhov’s unique humor and wit.
Galati’s adaptation highlights the fact that Layevsky, the main character of THE DUEL, moves through life in a determinist, unthinking fashion like any modern-day Baby Boomer. The central focus of the production is realizing that nobody knows what truth really is, which Layevsky happily repeats at the end of the play in a mantra that appears to be the only thing that serves as his purpose in life. At the end of the story, Layevsky has a monologue before the event of the duel, says he’s tired, and doesn’t believe in God, and at the end of the monologue raises his head to heaven and asks God, what is the meaning of it all. He realizes his own shortcomings and instead of shooting his rival, Von Korn, he lifts his arm and shoots the heavens, as if to try to shoot God. This adaptation ignores the premise that Layevsky is living out his personal philosophy during the majority of the play, although with a more formidable physical actor and slightly different direction, this probably could have been brought out.
Galati finds all of the typical Chekhovian humor, even the little commedia dell’arte moments and minor characters. Unfortunately, these minor characters play really minor parts to the effect that they’re almost props more than characters. Part of the novella that doesn’t quite come through in this production is how involved, eavesdropping and gossipy the townspeople are. The audience only gets a brief hint of this, and Layevsky’s demand at the end of the play that "everyone should leave him alone" is only marginally poignant.
Robert Brueler as Alexander Samoleyenko expertly conveyed the sense of his character as a man who was completely aware, intelligent, and spiritual, yet turned a blind eye to the weaknesses of his friend Layevsky. Kurt Brocker as Layevsky was good in expressing Layevsky's befuddlement at why he is a jerk, although it was sometimes a little flat, as if he didn’t know why he was saying his lines -- of course, sometimes people just stumble through life as if just saying their lines, too. Amy Landecker was fantastic, one could feel her incredible distress, more of a tired annoyance, but it was never overplayed -- and one could see how that character could easily have been. The supporting cast was a good balance of comedic and dramatic.
Luda Lopatina’s direction was well staged and choreographed. I particularly liked Ms. Lopatina’s use of Joey Wade’s simple, but effective, scenery. One distraction was that the purpose of paper flying through the window during Layevsky’s monologue towards the end of the play seemed superfluous to the production other than for dramatic effect. Jaymi Lee Smith’s lighting seemed intelligent, but poorly executed. Ann Kessler’s costumes were beautiful and period but not distracting. The excellent original music by Moses Moe kept the play progressing methodically towards its conclusion.
This production of THE DUEL is good introductory Chekhov. The adaptation from a novella makes for a number of long monologues, but it’s not too distracting; you never feel this was not meant to be a play. It moves fast, and it’s entertaining. Galati’s adaptation makes it accessible to a modern audience by emphasizing what is important to an audience today.
--Richard Donagrandi
THE DUEL, based on the novella by Anton Chekhov, adapted by Frank Galati, directed by Luda Lopatina. Starring Kirk Anderson, Robert Breuler, Kurt Brocker, Michael Burke, Ben Byer, Steve Cinabro, Dado, Alex Garibashvili, Reid Godshaw, Carolyn Ann Hoerdemann, Eric C. Johnson, Amy Landecker, Yasen Peyankov, Tatiana Piletich, Elaine Roth, and R. Andrew White.
Set Design: Joey Wade, Costume Design: Ann Kessler, Lighting Design: Jaymi Lee Smith, Original Music: Moses Moe, Sound Design: Chris S. Johnson, Choreographer: Maria Koreneva, Stage Manager: Sean D. Sheridan. |
