UNCLE ROMEO VANYA JULIET
“(Bedlam’s “Uncle Romeo Vanya Juliet”) performed by a five-person ensemble, is altogether startling … like even the most avant-garde of (Eric Tucker’s) shows, (it) is both unpretentious and enormous fun … While the tone is often comic, on occasion wildly so, the underlying emotions are shatteringly serious: You never doubt that “Uncle Romeo Vanya Juliet” is all about the people that we never get to love, and the heartbreak that flows from that hard reality.”
“Uncle Romeo Vanya Juliet begins casually and ends by breaking your heart. … The brilliance of Tucker and his company is to hold up a Shakespearean mirror to Chekhov in order to unleash his oft-hidden weirdness, wildness, and yearning. … Szadkowski and Millonzi are outstanding.”
Sit back and marvel at how effortlessly we are being drawn into the co-existing dramas.”
“(Bedlam is) an invaluable addition to our present-day theater scene.
With the luminous Zuzanna Szadkowski(‘s) … husky inflections, expressive strut and sleepy-sad eyes, it’s no wonder she’s the object of all the men’s desires.
Kimberly Pau’s loosely contemporary adaptation of “Uncle Vanya” (Yelena to her husband: “take an antacid”) and Mr. Tucker’s use of songs like “Avalon,” “MacArthur Park” and “Total Eclipse of the Heart,” lend the story a timeless sense of frustration and anomie.. Ms. Szadkowski’s earthy, approachable Yelena has a convincing melancholy underlining, and Ms. Millonzi handles Sonya, who can too easily be reduced to a pathetic sad sack, with sympathetic care.
Photo by Ashley Garrett