Review: TCTP presents ‘A Country Life’, a languid, Southern retelling of ‘Uncle Vanya’

Last weekend, Terry Martin’s adapted classic, A Country Life, premiered by The Theatre Classics Project. The local actor-playwright-director transformed Anton Chekhov’s Uncle Vanya into a provincial tale, centering on a family residing in a farmhouse in rural Alabama in 1922. Directed by Joey Folsom, A Country Life is a play in two acts. Martin’s story takes a look at the dynamics of the family that’s been chipped away through death, time and trauma. 

The narrative, though an ensemble piece, centered on two male leads. 

Dr. Michael Adams, makes the over 30-mile trip to care for the elder Alexander Scott who dismisses every diagnosis. Adams, however, appears to have deeper connections to the family, as he is well-acquainted with both the housekeeper and the family itself. He soon finds himself entangled in an unexpected love triangle, drawn to Alexander’s wife, Helen, while the younger Sarah has a deep infatuation for him.

Martin’s story also brings Johnny into focus, who is Sarah’s widowed uncle. He has deep ties to the land and house that he and Sarah have been tending to, which was left to Sarah upon her mother’s death. Alexander has grown to become the family’s patriarch by marriage to Sarah’s mother and Martin’s sister but has since passed. He heads the family merely due to his success as an author, while Johnny has dedicated his time and hard work to the homestead. Alexander’s desire to sell the house throws Johnny into a panic and identity crisis as he, in his middle age, ponders what he has given his life to.

The drama is palpable, fueled by the pervasive unhappiness that Martin and Folsom cultivate within the family. A cloud that hangs over the characters who have almost become fixtures in the house rather than living in it. Folsom set the pace with a languid Southern atmosphere and soundtrack —crickets chirping, raindrops falling and a perpetual heaviness in the air. This external mood mirrored the interior of the house, where characters navigated their personal journeys and discoveries almost passively.

The cast poignantly captured these vibes. Michael Michel, played the doctor with commanding attention and lovely warmth. As somewhat of an outsider to the family, Michel brought a strikingly different energy to his character, yet as the doctor stayed with the family, Michel acclimated the character to their wavelength.

Aaron Martin’s portrayal of Johnny was a revelation. Initially a sly character, Johnny’s dismay and disappointment were conveyed by Martin with convincing and genuine emotion – particularly as the character broke down into a vulnerable mess.

Cara Johnston successfully delivered a fully developed character as Helen, and served as the flirty vamp of the show with a heightened Southern accent. Johnston’s performance might have benefited from a touch more levity. Her character was perhaps the most open to counterbalance the intense drama surrounding the character. Johnston’s tender moments with Stephanie Oustalet were sweet as she explored Helen’s role as a stepmother to Sarah.

Oustalet’s nuanced performance as Sarah skillfully captured both youthful angst and a strong sense of maturity. She effectively conveyed the character’s premature growth, blending youthful innocence with newfound wisdom.

Jason Briscoe, as Wink the house factotum, delivered a nuanced and whimsical performance that was a delight to watch. The cast also featured Nancy Girard as Rose, the matriarch, and Anthony McGee as Alexander Scott. Marilyn Twyman delivered a solid performance as Ruth although sometimes, the character felt a bit two-dimensional. Twyman injected a staunch humanity to the role with a maternal affection for the family yet still emotionally reserved. 

A Country Life was a dynamic show even with its ambiance. While the setting may sound low energy, that does feed into the events that transpire. The story was sometimes confusing with the number of characters and overlapping stories, but succeeded in relating a dramatic journey. Of note, the show is on stage at the Stone Cottage theater in Addison, but at my performance last Saturday, the play was moved into WaterTower’s mainstage due to an air conditioning issue in the original venue. The cast still delivered on the play’s intentions  but it is easy to imagine the intimacy of the Stone Cottage working highly in favor of A Country Life.

 The show runs through June 29th.