Vanya and Sonia and Masha and Spike

Christopher Durang’s Tony Award-winning comedy Vanya and Sonia and Masha and Spike is a delightful mash-up of Chekhovian melancholy and modern absurdity — and this production captures its eccentric heart with warmth, wit, and comic precision.

At the centre of the production is Andy Kabanoff as Vanya, whose performance is nothing short of masterful. Kabanoff’s comic timing is beautifully crafted, and he brings subtlety and restraint to the play’s more farcical moments. The opening scene with Masha sets the tone with razor-sharp delivery and hilarious interplay, immediately drawing the audience into the dysfunctional dynamic of these siblings. His climactic monologue — a sweeping lament on the loss of cultural coherence and simplicity — is delivered with such authenticity and emotional weight that it stands out as one of the production’s most powerful moments.

Darienne Knight as Sonia starts with a degree of hesitancy,  but soon grows into the role with grace and emotional nuance. Sonia, the most quietly tragic of the three siblings, is not an easy character to navigate, yet Knight captures her longing and self-doubt with increasing depth. Her portrayal of Sonia’s emotional awakening, particularly during the phone call with a potential suitor, is subtle and moving — a performance that deepens as the play progresses.

In a twist of real-life drama, Terry Collins stepped into the role of Masha late in the rehearsal process following an injury to the originally cast actor — and the result is nothing short of remarkable. Collins commands the stage with charisma and comic poise, delivering a Masha who is haughty, glamorous, and maddeningly self-involved — yet never cartoonish. Beneath the vanity, she deftly reveals Masha’s insecurity and vulnerability, making her both infuriating and strangely sympathetic. It’s a tough line to walk, but Collins does so with admirable control and flair. That she also serves as the production’s director (with Terry Matthews stepping in once Collins took on the role) makes her performance all the more impressive.

Scene-stealing in every sense is Chris Cherry as Cassandra, the household cleaner who spouts dire prophecies with manic intensity. Cherry throws herself into the role with infectious energy, delivering a performance that is utterly unhinged in the best possible way. Whether invoking spirits, cleaning up broken crockery, or heading out for coffee between incantations, she is consistently hilarious and unpredictable — a true comedic force whose every entrance is a gift to the audience.

Jake Cain-Roser plays Spike with gleeful abandon — his portrayal of the dim, hyper-sexual aspiring actor is both irritating and endearing, exactly as it should be. Cain-Roser makes full use of his physicality and comic timing to extract maximum humour from Spike’s clueless bravado.

In the more grounded role of Nina, Alicia Medbury brings a sweet sincerity to the star-struck ingénue. Her growing friendship with Vanya is endearing as she gently encourages his play writing endeavours. While the character doesn’t have the comedic fireworks of others Medbury provides a necessary balance and sense of earnest optimism in the chaos.

The set is simple yet effective, evoking a once-grand country home now worn by time — perfectly suited to the siblings’ sense of stagnation. Thoughtful touches in the musical selections enhance the emotional beats and transitions. Notably, using Cassandra to tidy during scene changes is a clever directorial choice — integrating character action into transitions adds cohesion and helps maintain momentum. There’s room, however, to push the humour and absurdity of these moments even further to better match the play’s tone and allow for smoother character quick-changes.

As directors, Collins and Matthews have done a commendable job in shaping the on-stage dynamics. The blocking makes good use of the entire stage, and characters’ movements through the space are meaningful and often used to heighten comic tension. Their collaborative effort, particularly given the late casting changes, is a testament to their creativity and flexibility.

Overall, this production of Vanya and Sonia and Masha and Spike delivers a satisfying balance of comedy and pathos. Anchored by strong performances and clever direction, it offers a poignant, often hilarious exploration of regret, relevance, and the strange comfort of shared dysfunction.

Come and meet these well-crafted characters in a laugh out loud comedy sometime over the next couple of weeks. You will not be disappointed.

Rizzie Reviews

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