Visiting (and Laughing) with CTC and Vanya and Sonia and Masha and Spike

By Hannah Leposa
Theater fan Hannah Leposa is excited to be living in Wilmington where there is a lively theatre community and high-quality performances.

The cast of CTC's Vanya and Sonia and Masha and Spike.
Photo by Joe del Tufo/Moonloop Photography.

City Theater Company's final producton of the 24-25 season is Vanya and Sonia and Masha and Spike, written by the late Christopher Durang and named the 2013 Tony Award for Best Play. The show revolves around three middle-aged siblings — Vanya and Sonia — who live together, and Masha, who supports them and is coming for a visit.

It was evident that director Joseph Pukatsch had a clear vision for the show, as everything worked seamlessly with each other, from the set by scenic designer Rick Neidig (which was beautiful and the set dressings had me believing I was looking at an old family home) to costumes and props by Coco G. Robocheaux and Jennifer Youngblood, respectively, the vision was clear.

The casting of Vanya and Sonia and Masha was perfection. The chemistry between them was electric, and their banter was as believable as a trio of actual siblings.

Vanya, the brother who is the most reserved of the three siblings and at least outwardly, is content with the way life is, is portrayed by Paul McElwee. McElwee performed the character with a sincere subtleness that had me watching his reactions to the unfolding story more often than not. Between his facial expressions and impeccable delivery, McElwee embodied the character perfectly.

and Sonia, the adopted sibling who is struggling with where she is in life and what she has, or rather has not accomplished, is portrayed by Jennifer Youngblood. Youngblood was a standout in this role; her comedic timing and ability to shift moods seamlessly without a hint of what was to come kept the character feeling fresh, relatable, and funny.

and Masha, the third sibling, and the successful actress, returning to the family home for a visit was portrayed by Kerry Kristine McElrone. McElrone’s range of emotion was astounding, from happy to jealous to sad, she easily portrayed them all believably.

and we cannot forget the final titular character, Spike, the young aspiring actor that Masha has been dating, played by Jordan Eck. Eck was hysterical as Spike, and his physical comedy was outstanding. He had me laughing out loud multiple times throughout the show.

Remaining cast members include Mary Catherine Kelley, as Cassandra the housekeeper who, like her namesake, believes she can see the future, and Mikala Plymer as the neighbor girl and would-be actress Nina. Both actresses were excellent additions to the cast.

Vanya and Sonia and Masha and Spike is presented by City Theater Company. The show runs through Saturday, April 12, at The Black Box at The Delaware Contemporary, 200 S. Madison Street, Wilmington, DE 19801. Tickets are $48.75 with student and military discounts available. They can be purchased at www.city-theater.org. 

The show runs just over 2 hours plus a 15-minute intermission.

Dancing Through City Theater Company's 30th Anniversary Season Closer, "Dancing at Lughnasa"

Jeff Gudzune writes book reviews for a variety of publishers and is active in community theater. Since 2013, Jeff has owned and operated Matrix Notary Service.

City Theater Company's cast of Dancing at Lughnasa.
Photo by Joe del Tufo, Moonloop Photography.

No one does drama, peppered with light humor, better than the Irish. Lives of toil, tragedy, and the struggle for upward mobility are made easier by finding the humor in life. It’s a reality that refreshes in a world of 24-hour news cycles foreshadowing international conflict, political upheavals, and the possibility of economic catastrophe.

City Theater Company's production of Dancing at Lughnasa, directed by Mary Catherine Kelley, is the personification of Irish Drama. It’s not devastating, but it is stark and evocative. The story is based on playwright Brian Friel's own reflections of life in rural Ireland in the summer of 1936. The eclectic extended family members have their own story to tell, seasoned with an equal mix of humor and sorrow.

The action takes place in the Mundy household, a small cottage in the town of Ballybeg during the summer of 1936. The narration is provided by an adult Michael Mundy (Daryan Borys), who also speaks in the voice of his 7-year-old self during interactions with his family. Michael appears offstage as an adult, and the cast interacts with the air around a spotlight representing the child.

Michael is unaware of the tempest brewing within his family, the drama that will crescendo as the play moves through its acts. He only wants to enjoy the remaining weeks of summer before school starts and to find some peace in a house filled with women — five unmarried sisters Kate (Kerry Kristine McElrone), Agnes (Jessica Jordan), Rose (Kate Brennan), Maggie (Jennifer Youngblood), and Christina (Éibhleann Clyne), Michael's mother.

The presence of his famous Uncle Jack (Paul McElwee), a Roman Catholic priest who has just returned from Uganda, adds a bit of mystery to the boy’s life. To further complicate matters, his wayward father, Gerry (Aidan McDonald), suddenly arrives to court his mother and purchase the boy's affection.

The Mundy family is a tapestry of latent desires and buried trauma. Kate, the oldest, is a schoolteacher and devout Catholic who is leery of the pagan themes of the approaching festival of Lughnasa — a Gaelic celebration marking the start of the harvest. Anges and Rose knit gloves but find their way of life endangered by industrial competition. Maggie and Michael’s mother, Christina, tend the house and reflect on what their lives could have been. Jack struggles to express himself and often wanders the house attempting to give voice to his muddled thoughts. Things are further complicated by the arrival of Michael’s father Gerry—a wanderer with big promises and very little follow through.

The talented cast conveys the emotions of the piece through their expressions and body language, as well as spot-on Irish accents. The musical accompaniment adds a sad tone to the actions presented on the stage. 

Among the central themes of the show are regret over the path not taken, the struggle for survival, and challenges to faith. Father Jack returns from missionary work to find his spiritual outlook somewhat changed. Social Scientists would call this "going native," but he has come to realize that not all roads lead to Rome in the spiritual sense. This concerns Kate, whose devotion to her faith leaves her fearful for her brother’s soul. Anges and Rose are forced to work long hours in the glove factory to support the family as Kate is forced into early retirement. Through it all, they remain united. There is conflict, but it is wholesome. It’s family.

Dancing at Lughnasa is a study of Irish culture and family life. The idyllic community in which the players live exists in the space between two worlds. There is the strict Irish Catholic heritage, devoted to the tenets of the religion and its firm dogma and the local traditions that may not be in line with that faith. The weight of the world in which they live is evident in the physical expressions of the actors as they portray a kaleidoscope of emotions on stage. One could not help but be taken away from the moment. 

While each performer brought their heart and soul to the role, the standout was Jennifer Youngblood’s embodiment of fun-loving life-spirit Maggie. Delivering stark, often comedic commentary, she serves as a bridge between the more serious Kate and the rest of the family. Equally impressive was Kate Brennan’s Rose, whose disability does not hamper her desire to find love.

Remaining performances of Dancing at Lughnasa are Sunday, 4/21, matinee (2:00pm) and Wednesday, 4/24 through Saturday, 4/27 (all 8:00pm). Tickets are available online at City-Theater.org.  Seating is mostly on risers, but ADA seating is available by alerting the House Manager. City Theater Company performs in the Wings Black Box of The Delaware Contemporary, located at 200 S. Madison Street, near the Wilmington waterfront.