What does a cigar factory in 1920s Florida have to do with Tolstoy’s epic novel ‘Anna Karenina’? More than you might think it turns out. In Nilo Cruz’s 2003 Pulitzer Prize winning play ‘Anna in the Tropics’, cigar rollers working in a factory are inspired when a new lector reads the classic Russian novel to them while they work.

Ofelia (Charin Alvarez) and Santiago (Dano Duran) own an antiquated cigar rolling factory and work the line along with their daughters Marela (Alix Rhode), Conchita (Krystal Ortiz) and her husband Palomo (Roberto Mantica). When Ofelia hires lector Juan Julian (Arash Fakhrabadi) to read aloud while they roll cigars, the themes in Tolstoy’s novel begin to unlock everyone’s secret desires. The further Juan Julian reads, the more the character’s lives start to mirror those in the book.

Retelling the story in hot and steamy Florida allows for something the original Victorian era novel cannot—sex. While Tolstoy subtly addresses sex in his novel, Cruz’s script doesn’t shy away from the passion between his characters. Director Laura Alcala Baker’s production is dripping with sex, but in a way that portrays women as being the dominant gender.

The female ensemble in Remy Bumppo’s revival of ‘Anna in the Tropics’ is a triad of perfection. Charin Alvarez leads this talented cast and from the first line of dialogue she instantly captures the audience. The bittersweet scenes between her and Dano Duran will melt even the hardest hearts.

Most of the play focuses on the love triangle that forms between Conchita, Palomo and the lector Juan Julian. A tepid marriage begins to heat up with the arrival of Juan Julian, who inadvertently helps reignite Palomo’s passion for his wife. The chemistry between these three is palpable, and nobody is as sultry as Krystal Ortiz. Her fascinating performance is hard to shake longer after the curtain closes.

‘Anna Karenina’ is Tolstoy’s exploration of morality and he does so through two main characters: Anna and Levin. In Cruz’s version Levin is represented by Cheche (Eduardo Xavier) who is the nephew of the family who owns the cigar factory. He sees the progress of a new century and resents the old ways of doing things. Through Cheche’s character, Cruz makes his points about what things shouldn’t be modernized, such as the love that goes into a hand rolled cigar. Much like Tolstoy documenting the twilight of an era for Russian aristocracy, Cruz is documenting a way of manufacturing that has vanished in many industries, replaced by the coldness of a machine.

‘Anna in the Tropics’ is a brilliant take on a classic. Cruz in some ways brings more passion to this already romantic story. Could this play operate without the direct relationship with the novel? Probably not, but a lack of familiarity with the novel in no way impedes on the emotional experience of the play. Remy Bumppo has arranged a perfect cast led by three incredible actresses. Laura Alcala Baker’s vision for this production has a style of its own, rather than just a faithful restaging. An infectious flirtation runs throughout this unique play.

Through March 19 at Remy Bumppo at Theater Wit. 1229 W Belmont Ave. www.remybumppo.org

Happy ballets are alike; every unhappy ballet is unhappy in its own way. Joffrey Ballet brings their haunting production of ‘Anna Karenina’ to the Lyric Opera House for a brief revival. It’s easy to see why this new ballet was such a hit when it held its world premiere in Chicago back in 2019. It’s a remarkably succinct retelling of Leo Tolstoy’s epic novel about an unhappy woman’s choice to leave her marriage shortly before the Russian revolution.

Devised and choreographed by Yuri Possokhov, this version of ‘Anna Karenina’ is for both those who have read the novel and those who haven’t. The plot is pared down to the most essential moments. That said, it’s impressive how much is included and how creatively certain scenes are staged, most notably a brutal horse race that closes the first act.

Possokhov’s choreography is sexually evocative and those familiar with the deeply psychological drama will surely recognize the emotions in the dance, especially between Anna and Vronsky, danced by prima ballerina Victoria Jaiani and Alberto Velazquez. Scenes move at a fast clip and are told through a blend of large props, minimalist projections, and soaring vocals. Those who haven’t read the book may miss some of the nuances, but the visuals make the plot clear.

Victoria Jaiani and Alberto Velazquez in 'Anna Karenina" at Lyric Opera House

With live orchestration by the Lyric Opera Orchestra and vocals performed by Jennifer Kosharsky, the original score by Ilya Demutsky leaps off the stage. The music is cinematic but like the choreography, the torment is conveyed through sharp, staccato sequences. In the novel, Anna refers to Vronsky as a murderer after they begin their love affair. Pussokhov’s staging faithfully captures the fact that Anna and Vronsky will never know a moment’s peace. The great irony of Tolstoy’s sweeping love story is that great passion does not always make for a lasting relationship.

‘Anna Karenina’ can be difficult for some readers as large swaths of the book take the focus off Anna and put it onto semi-autobiographical character Levin and his love interest Kitty. A lot of these sections are about the intricacies of Russian farming. Levin is a bit absent from this production as such, but through the contrasting choreography, Anna and Levin’s parallel search for true love is apparent.

This award-winning production returns to Chicago under considerably different political circumstances between Russia and the US. However, Joffrey Ballet honored the Ukrainian people with a moving tribute before the ballet began, demonstrating an awareness and solidarity the Ukrainian people.

Through February 26 at Joffrey Ballet Chicago. 20 N Upper Wacker Dr, Chicago, IL 60606. www.joffrey.org.

Fewer theatrical experiences are more thrilling than a Kander and Ebb musical done well. Porchlight’s revival of ‘Cabaret’ delivers the exact kind of razzle-dazzle audiences expect when they think of the Kit Kat Club. Directed by Artistic Director Michael Weber and choreographed by Brenda Didier, this production scrubs off some of the grit that’s become a hallmark of the iconic Rob Marshall Broadway revival. By using the same script, and borrowing some of the aesthetic, there’s a really satisfying buoyancy about Porchlight’s approach to this essential musical.

The success of any production of ‘Cabaret’ hinges on the actors playing the Emcee and Sally Bowles. This cast has two strong leads in the respective roles. Josh Walker channels neither Joel Grey nor Alan Cumming, but instead something more playful, adding a little mirth to the eerie Kit Kat Club host. Sally Bowles the character may only have minimal talent, but Erica Stephan has the soaring vocals songs like “Maybe this Time” and “Mein Herr” were made for. It’s a joy to watch her embody the part in every lithe movement and manic quip.

Part of what makes Kander and Ebb musicals like ‘Cabaret’ and ‘Chicago’ so infectious are the catchy songs and jazzy dance numbers. By now they’re almost inseparable from Fosse’s sexy choreography. The ensemble numbers in this production create thoroughly satisfying versions of some of the most beloved Broadway music of all time. Brenda Didier cuts through the dark currents of the script and gives audiences of both the Kit Kat Club and Porchlight exactly what they crave—beautifully distracting spectacle.

Based on the classic novella ‘The Berlin Stories’ by Christopher Isherwood, ‘Cabaret’ is an eternally relevant story about apathy during political crisis. The musical numbers are toe-tapping fun, but yet there’s something uneasy about ‘Cabaret.’ It’s a celebration of being “other”. Since the original 1966 Broadway production and the subsequent Liza Minnelli film, it’s become a landmark of queer culture. At its heart, it’s a play that reminds its audience not to take the right to be different for granted.

Despite the darkness on the fringes of ‘Cabaret’, Porchlight’s production injects some roaring 20s opulence into their version. Costumes by Bill Morey are styled in flapper-chic that seem more historically accurate and frankly, more attractive. The costumes move well with Didier’s Charleston-flavored choreography which also seems more authentic to the time period.

‘Cabaret’ gives the audience a sense that they’ve been whisked away somewhere exotic for two and a half hours. Every member of the cast is perfectly at home in their world and the come-hither physicality with which they beckon their audience is impossible to decline. Michael Weber reminds us again why Porchlight is a destination for contemporary musical theatre in Chicago. This production is every bit as good as the Broadway revivals that too often rely on stunt casting. Instead, Porchlight sheers away some of the overly morbid overtones and replaces them with a purer sense of escapism. After all, in here life is beautiful.

Through February 12 at Porchlight Music Theatre at the Ruth Page Center for the Arts. 1016 N Dearborn St. www.porchlightmusictheatre.org

*Extended through March 19th

Goodman Theatre pulled up the curtain on the 45^th opening night of their legendary adaptation of ‘A Christmas Carol’. Undoubtedly there are likely thousands of productions of ‘A Christmas Carol’ opening all over the country this week, but Goodman’s holiday tradition feels like a homecoming for the Chicago stage community. It’s become a rite of passage for Chicago actors to grace the Albert stage, and that helps keep this show fresh for audiences year after year.

Veteran Scrooge Larry Yando is reliably visited by three spirits and learns the error of his ways, but if that’s all there was to it, there’s no way the entire run of this show would continue to sell out each year. Goodman artistic staff includes new additions to the script, staging and costumes. You’ll never see the same production twice.

Goodman could easily phone it in for this yearly cash-grab, but they don’t rest on their laurels. ‘A Christmas Carol’ is treated with as much enthusiasm as the hottest new play from Broadway. The artistic team maintains a sense of discovery, asking audiences to see this familiar story from new perspectives. For the true meaning of ‘A Christmas Carol’ to be derived, audiences need to be able to identify with Victorian England. That can be hard to do in an era of smart phones and Tik Tok.

The spirits are recast every season and with the new casting comes a new aesthetic. The Ghost of Christmas Present is a fun and festive role for any actor, but Bethany Thomas is a wonderful addition to this year’s cast. When you’ve got a voice like Thomas’ in your company, it’s best to put it to use. More music has been added to this year’s script to showcase her talents. Additionally, a quartet of musicians has also been added this year, providing an extra layer of charm.

With the retirement of longtime Goodman artistic director Robert Falls, Chicago heavy-hitter Jessica Thebus directs this year’s ‘A Christmas Carol’. She does a great job honoring the beloved production but brings in some modern flare of her own. This production seems to lean into the spooky. Afterall, this is a Christmas ghost story.

Goodman cultivates a sense of inclusivity that stretches beyond their standard seasons. In creating programming for students and young theatre makers, Goodman has become a pillar of the Chicago arts community. Nowhere is this more exemplified than their ‘A Christmas Carol’.

From a risky investment in the late 1970s, to the holiday institution we see this year, ‘A Christmas Carol’ at Goodman has become part of Chicago’s Christmas landscape. Next to Christkindlemarket in Daley Plaza, it’s hard to find a more quintessential Chicago tradition. Through December 31 at Goodman Theatre. 170 N Dearborn St. www.goodmantheatre.org

A title like “Swing State” is certainly provocative and might suggest exactly what Rebecca Gilman’s new play is about, but oddly enough it’s not about an election. Two of Chicago’s best actresses; Mary Beth Fisher and Kristen Fitzgerald join director Robert Falls in this much-anticipated production at Goodman Theatre. Chicago-based playwright Rebecca Gilman has had a long history of collaborating with Goodman, Robert Falls and Mary Beth Fisher. This is the tenth play they’ve produced, and many have been directed by Falls and, or starred Fisher. “Swing State” is another riveting script from the Pulitzer-nominated playwright.

Somewhere on the driftless land of Wisconsin, recently widowed Peg (Mary Beth Fisher) lives alone on a large patch of remnant prairie land. When a box of old tools and a gun go missing from Peg’s barn, she enlists the sheriff (Kristen Fitzgerald) and her well-meaning but dopey deputy Dani (Anne E Thompson). They suspect a community “screw-up” named Ryan (Bubba Weiler) who Peg and her late husband had mentored. Though Peg doesn’t want to pursue it, the sheriff is relentless.

Despite its fast moving 95-minute runtime, “Swing State” takes a few hours to digest. What Gilman exceeds at is taking broad political issues and distilling them through the individual experience. Much of her parallels are drawn through metaphor. The prairie land Peg so meticulously tends to represent an uncorrupted way of life vanishing in the American heartland. Gilman also shines a light on the police ineptitude and cruelty running rampant in smalltown Midwestern communities.

Mary Beth Fisher embodies the beleaguered Peg. Her physicality tells an entire story without saying a word. Though, it’s in a single, lengthy monolog in which she effortlessly flows through the realm of emotions that she gets to the real depths of her character. Kristen Fitzgerald is also a thundering presence as the zealous smalltown sheriff, Kris. It’s clear Fitzgerald has a good understanding of the kind of corrupting ignorance plaguing our justice system. While neither character is without flaws, these two actresses have approached their roles with compassion, which serves the nuances of the ending.

“Swing State” is a shocking story that builds through quiet, often two-person scenes. Gilman does well to make her point while also staying true to her own life experiences. The title suggests that the rural Midwest is still a swayable population. In that idea alone the script points toward optimism. Peg’s character journey also suggests optimism even if the ending might seem unsettling. This is an honest play about the types of people you might meet in a small Midwestern community. There may not be an election in the play, but its looming consequences have colored every aspect of Gilman’s richly drawn world.

Through November 13^th at Goodman Theatre. 170 N Dearborn St. www.goodmantheatre.org

Nobody does camp like Hell in a Handbag Productions. Ensemble-developed, oddball parodies of queer iconoclasts are what they do best. For their 21^st season, longtime collaborators Tyler Anthony Smith and director Stephanie Shaw meld Barbra Streisand’s enduring legacy with Mary Shelly’s classic horror story. A cast of loveable weirdos round out the world premiere of this clever Halloween special.

Hell in a Handbag ensemble member Tyler Anthony Smith has been creating one-man shows throughout Chicago’s fringe scene for years. He’s also been a regular feature at Hell in a Handbag over the years. Tyler reunites with director Stephanie Shaw for a story that only his irreverent mind could come up with.

‘Frankenstreisand’ is the story of Dr. Barbra Frankenstreisand’s return to the stage after a 27-year performance hiatus. Only this time, she has her eyes set on a prize higher than an Oscar, a Grammy or even a Tony. Loosely based on the very real 1990s rumor that Barbra tried to have her dog cloned, Frankenstreisand intends to clone her beloved, but dead dog, Samantha. With the help of her assistants Hunchback (Dakota Hughes) and Frau (Brian Shaw), Frankenstreisand returns to the stage for the ultimate performance. Both Hughes and Shaw bring a great deal of physical humor to their quirky roles in Smith’s bizarre little script.

This festive Halloween show is a love letter to ‘The Rocky Horror Show’. The 85-minute musical features your favorite Babs songs, each with reconfigured lyrics for context (and likely to avoid copyright infringement). Streisand fans will cackle hearing these hilariously twisted versions of their favorite showtunes. With every number, deranged Frankenstreisand inches closer to giving her cloned pup the spark of life.

Smith knows his Barbra trivia right down to the costumes and together with designer Beth Laske-Miller they’ve recreated some of her signature looks. Wigs by Keith Ryan lend an extra layer of humor to Smith’s cartoon villain version of Barbra.

This play heavily relies on the audience’s knowledge of Streisand lore. Even the biggest fan might find themselves Googling certain facts as they’re leaving the theater, such as does she really have a shopping mall under her house? It’s no secret Barbra Streisand is kooky and perceived as demanding, and this makes her all the riper for satire.

Smith takes his historian-level interest in Barbra and does his own thing. Mixing in some of her signature qualities: the Brooklyn accent, the long fingernails and of course, the schnoz, he also blends in his own Tim Curry-flavored affects that lean into the more overtly sexual. This is a Barbra who doesn’t take herself as seriously.

A musical about Frankenstein and Barbra Streisand may seem like two ideas thrown into a blender with some bong water, but Tyler Anthony Smith has created a hilarious monster with ‘Frankenstreisand.’ It’s both a tribute to the great diva, and an homage to B horror movies of the 1950s.

Through October 31 at Hell in a Handbag Productions. 4702 N Ravenswood. For tickets and or more inforation, click here. 

Goodman Theatre welcomes back audiences with Lynn Nottage’s Broadway hit, “Clyde’s”. Collaboration between Goodman and playwright Lynn Nottage goes way back, including the 2019 production of her second Pulitzer Prize winner “Sweat”. This food-filled dramady is directed by Kate Whoriskey who has directed several of Nottage’s plays around the country.

Lynn Nottage was one of the busiest playwrights in New York this year, with three of her shows running on New York stages at the same time! Nottage is the first woman to have won the Pulitzer Prize twice in her career. Both of her Pulitzer winning plays have been produced at Goodman. The first play, “Ruined”, was part of Goodman’s New Stages festival in 2007. It was revived in the Owen space the following season and was awarded the Pulitzer in 2009. Since then, Goodman has produced “By the Way, Meet Vera Stark” and “Sweat” by Nottage.

“Clyde’s” was hit on Broadway in 2021, closing in early 2022. The single act play tells the story of a group of recently released ex-convicts working at Clyde’s, a grease spoon diner. The truck-stop sandwich stand is their only hope for employment, but Clyde the owner (a former convict herself) is unreasonably wicked.

“Clyde’s” is lighter fare than Nottage’s previous Goodman engagement, “Sweat”, but it doesn’t shy away from life’s grittiness. Nottage has an appreciation for the working class of America and often uses unglamorous settings to explore some of society’s deepest fractures. Main characters Letitia (Nedra Snipes) and Rafael (Reza Salazar) spend their working hours jumping as high as Clyde commands, but in between the verbal and physical assaults, they daydream about the perfect sandwich. The perfect sandwich being both literal and a metaphor for life without the unsavory baggage of former incarceration. They’re inspired by ethereal head chef Montrellous (Kevin Kenerly) who brings a sense of peace to the cook line. Kitchen dynamics change when quiet newcomer Jason (Garrett Young) joins the team.

An intimate cast led by understudy Danielle Davis as Clyde brings this seemingly simple story to life. Simple doesn’t mean shallow. There’s a lot of meat on this play. In one act Nottage does something few can do in a full length: she makes us care about everyday people society wishes to ignore. “Clyde’s” makes a statement on prison reform, class warfare, race, gender, and workplace relationships.

Danielle Davis is nearly cartoonishly evil, but she walks away with most of the scenes and laughs. We’ve all worked for someone we perceive as the devil, but Clyde might actually be Satan herself. The emotional weight of the play falls on Letitia’s shoulders and Nedra Snipes carries it well. Her budding romance with Rafael exposes how lonely it can be as a formerly incarcerated citizen. Even though these characters don’t always get along with Clyde, in the kitchen they treat each other with respect, which is more than the world treats them with.

So quickly after the pandemic did we forget about the “heroes” in service industry roles. “Clyde’s” reminds us to approach each other with respect despite background, job title or income. Nottage elevates the everyday lives of those working the hardest, and at the lowest rungs. The play also evokes a sense of gratitude for employment some would find off-putting. By having her characters dream of making the perfect sandwich, she’s encouraging all of us to keep dreaming of better life while appreciating the good right in front of us.

Through October 9 at Goodman Theatre, 170 N Dearborn Street. www.goodmantheatre.org

Murder’s a hoot in Court Theatre’s revival of Joseph Kesselring’s “Arsenic and Old Lace.” Lighthearted and stylish, director Ron OJ Parson’s production makes for a charming season opener. Court Theatre was awarded a Tony award for best regional theatre and it feels fitting for a well-known classic to be this year’s kick-off. Slapstick humor and sinfully crackling dialogue are brought to life by an excellent ensemble of some of Chicago’s favorite performers.

It's hard to imagine this subversive comedy finding a mass audience in a less cynical era, but the 1941 Broadway production of “Arsenic and Old Lace” ran for years spawning a successful West End run as well. Boris Karloff, a major star of the 1940s, featured in the original Broadway run, contributing to its success. Frank Capra directed the popular film version starring Carey Grant.

According to lore, Kesselring had set out to write a serious play about the famed serial killer Amy Archer-Gilligan, but during the writing process found the story played better as a farce. The current popularity of murder-related podcast and docuseries makes this an especially relevant play to remount. It serves as an ironic satire of one of our nation’s favorite subjects—murder.

“Arsenic and Old Lace” tells the story of two sweet old spinster sisters who live in a Brooklyn mansion, they just happen to poison some of their guests. Hijinks ensue when their two nephews pay them a visit and discover their grizzly hobby.

In Parson’s production the Brewster sisters, Abby and Martha are played by Taylar and Celeste Williams. Their stage chemistry is fun to watch as they’re chased around the set by their adult nephews Mortimer and Jonathan (played by Eric Gerard and A.C. Smith). The latter, A.C. Smith, turns in another stage-filling and hilarious performance as the deranged long-lost nephew who returns to the family home with a secret to dispose of. Eric Gerard masters physical humor as he balances his frightening older brother, his murdering aunts and his engagement to the minister’s daughter Elaine (Emma Jo Boyden).

The action of the play is contained to the living room of the mansion. John Culbert’s set is the perfect backdrop for the door-slamming, stair climbing romp. Rachelanne Healy’s costumes transport us back to the 1940s and the absurd funeral costumes worn by the Brewster sisters play their own role in the laugh-out-loud spectacle.

Appealing to the popular anti-hero tropes in today’s pop culture, Court finds a pleasant way to welcome back audiences with an amusing production of a beloved classic. Thrills and laughs abound in this refreshing yet traditional staging. Ron OJ Parson nods to heartfelt film director Frank Capra, famous for ‘It’s a Wonderful Life’ and many other classics in his endearing production. Comedies in the “farce” style have mostly disappeared from new work, so plays like “Arsenic and Old Lace” are a nice trip down memory lane to a simpler time. Though the play is about murder, there’s a sweet natured charm to the tongue-in-cheek candor of the lines and plot. Seeing this excellent cast counter physical humor with witty banter is sure to bring a smile to your face.

Through October 2^nd at Court Theatre. 5535 S Ellis Ave. www.courtthreatre.org

Sometimes a play or a piece of music has such an effect on audiences that they can’t control themselves. Just as the premiere of Stravinky’s ‘Rite of Spring’ caused a stampede among patrons, John Millington Synge’s ‘The Playboy of the Western World’ incited a riot in its 1907 Dublin debut. Perhaps it was the political climate of Ireland at the turn of the century, or perhaps Synge’s play hits on a subliminal level not fully understood. The reaction was replicated in many cities in its American tour shortly after.

City Lit Theater revives ‘The Playboy of the Western World’ under the direction of Brian Pastor. Synge’s play tells the story of a strange man who comes upon a rural Irish alehouse and regales the crowd with a grizzly confession of murder. Christy Mahon (Joshua Servantez) is a meek farmhand who bashes his father over the head with a gardening spade. Though in disbelief at first, the villagers around the pub eventually take his word. Christy is raised in esteem among these simple folk as a hero as he explains the wickedness of his father. Soon he’s being chased by all the maidens in town, but two in particular vie for his affection. The alehouse owner’s daughter Pegeen Mike (Michaela Voit) and the Widow Quin (Brenda Wlazlo) become the two biggest contenders for young Christy’s heart. Emboldened by their pursuit of him, Christy starts getting a big head forgetting the once timid version of himself.

‘The Playboy of the Western World’ employs a large cast and in Pastor’s production the players work well together. Accents can sometimes be the Achilles heel of any production, but dialect coach Carrie Hardin’s work pays off. There’s a cohesion to the accents that help immediately place the audience in a time and place without distraction.

Michaela Voit is enchanting to watch as the young suitor to the flailing Christy. Joshua Servantez has all the charm and slapstick physicality to effectively communicate the shift in his persona once he becomes the town mascot. Though, the most touching and emotionally evocative performance comes from Brenda Wlazlo.

While the political turbulence of early 20^th century Ireland was in full swing at the time of this play’s premiere, there’s almost no mention of anything political in the play. In fact, despite its gruesome premise, ‘The Playboy of the Western World’ is a comedy. Synge’s characters end up idolizing Christy even more knowing he’s a murderer. In that regard, it would appear that very little has changed in 120 odd years. Perhaps that was the reason for the rioting during performances.  

‘The Playboy of the Western World’ fully lives up to its title. In this play we see an unredeemable character scheme his way to the top through dishonesty and vanity. The indictment of Irish morals is hard to argue by today’s standards, and so instead it remains relevant in its cheeky sense of humor and poetic dialogue. City Lit has mounted a faithful production that offers a great opportunity to acquaint oneself with this classic play.

Through August 14^th at City Lit Theater. 1020 W Bryn Mawr Ave. www.citylit.org

“A man came by chance, saw it, and destroyed it” repeats Chekhov in his psychological melodrama “The Seagull”. Such a simple phrase says so much about the ways humans can treat one another. Steppenwolf Theatre revives the classic play under the title “Seagull” in a new adaptation by company member Yasen Peyankov who also serves as the director. Steppenwolf invites audiences to their new impressive theater space for its inaugural production. The cast primarily features ensemble members in what feels like a celebration of Steppenwolf’s rich legacy.

“Seagull” is a great introduction to the impressive new building on Steppenwolf’s campus as well as a great introduction to Anton Chekhov. Yasen Peyankov worked on this script for many years, occasionally working with Russian language experts from Northwestern University to maintain Chekhov’s original intent. Audiences will be struck by how fresh this script sounds. Plays of this era can be a bit of a slog for the uninitiated, but this version has a stronger sense of immediacy to the lines. Peyankov focuses his script on the dark humor that often gets diluted out in tedious repetition and lengthy scene-work. The main points are easier to grasp here and overall serves the tragic ending more because the characters feel more relatable.

Peyankov’s script is peppered with a reality TV flare. Nobody perhaps better inhabits that flavor than Lusia Strus as Irina Arkadina. Her character is a fading stage actress who’s summering at a country house with her new beau and her adult son. Her adult son Konstantin (Namir Smallwood) is also struggling writer and loathes his mother’s successful writer boyfriend Trigorin (Joey Slotnik). He’s in love with Nina (Caroline Neff) but she much favors fame than love. Konstantin cannot return the love of the caretaker’s gothic daughter Masha (Karen Rodriguez) though she’s the only one who believes in his talent as a writer. Emotions run high and reactions run big, just like an episode of “Real Housewives.” Lusia is a bold, sexy and smokey voiced Irina, often walking away with most of the laughs in the play.

“Seagull” seems more focused on the female ensemble and that’s just fine because this is a stellar cast of actresses. Masha is arguably one of the best roles an actress can ask for. Karen Rodriguez doesn’t get bogged down in the angst of the role, but rather uses physicality to enhance the comic absurdity of Masha’s moroseness. Masha’s mother Paulina is played by Sandra Marquez who also does a great job of pulling out the humor of an otherwise pathetic character. This script brings the young starstruck Nina character to life more than previous versions. The play gets its name from her character afterall. Caroline Neff delivers a notably emotional performance. The beauty of the new in-the-round space is that in the final moments of the play audiences are able to see and experience the facial expressions of the actors in a way not possible in their existing spaces. Neff is devastating as she manically circles the performance space vacillating between clarity and delusion. Throughout the play Neff speaks the dialogue so naturally that it almost doesn’t feel like scripted words at all.

Purists will have their qualms with this new adaptation but there are only so many ways to use the same dusty old scripts. Yasen Peyankov’s script is definitely cheeky, but there’s real depth in his version. By cleaning up the clutter of words in traditional translations he makes room for the character ambitions to be clearer. When they don’t get what they want, it makes it all the more tragic. If you’re looking for a lighter dance through Chekhov, this is the version to see.

Through June 12 at Steppenwolf Theatre Company. 1650 N Halsted. www.steppenwolf.org/seagull