Hendersonville – Everything comes into fashion again, whether we like it or not: bell-bottom jeans, disco, recessions, day-glow clothing, fascism, and an overwhelming sense of despair about our lives and the state of the world.
The woes, worries, and tragedies that Anton Chekhov wrote about in his 1897 work Uncle Vanya are just as relevant to audiences today, particularly in Aaron Posner’s 2018 adaptation, Life Sucks.
Director Dakota Mann at Hendersonville Theatre brings this relevance into sharp focus. This seven-person ensemble production is both wonderful and sometimes painfully relatable, engaging from start to finish.
Posner’s penchant for breaking the fourth wall is on full display in Life Sucks, with characters posing questions to the audience that explore the vulnerabilities, desires, and secrets we all keep from others—and often from ourselves.
I love a play where I can see myself reflected in a character. If it resonates with me in that way, I will carry it with me and hopefully learn from it. This time, however, I found my flaws, fears, and hopes mirrored back at me through a variety of Posner’s brilliantly human monologues.
Chekhov’s skill in creating multi-layered characters leads to unexpected twists and turns because we naturally tend to view people as either good or bad, especially in literature. We are surprised when the seemingly bad guy actually has empathy or when the ditzy goofball reveals depth and soul. All of this was beautifully unveiled in Life Sucks.
While I won’t offer any spoilers, Natalie Broadway’s “Pickles,” who initially seems delightfully off-kilter but nothing more, becomes intensely captivating in all the best ways. She delivers joy and melancholy, with life lessons sprinkled throughout her delightful performance.
Jered Shults was mesmerizing as the tortured, desperate Vanya, floundering in a life that seems to be passing him by. Often hilarious, he seamlessly transitions into darker moments, searching—as many of us are—for answers to happiness and fulfillment.
For me, Posner’s real strength lies in his monologues, which seem to dig right into your soul. However, Mann’s addition of dreamlike dance sequences (gorgeously choreographed by the incomparable Matilyn Hull) elevated many scenes to an emotional apex. One highlight of the show for me was Shults’ stunningly chaotic turmoil expressed through dance.
As Sonia, Alexa Nemitz brought the sweetness of a wide-eyed ingénue—not a two-dimensional character at all. Nemitz portrayed innocence along with the awkward and familiar drive to understand love and lust—something most of us are still trying to grasp.
The focal point of the story’s love pentagon—rather than a love triangle—is Ella, portrayed by the always delightful Lauren Otis. From fierce to frustrated to fanciful, Otis provided insight into the various ways the male gaze can be harmful while creating a full and intoxicating character.
Marvelous as always, Kathy O’Connor’s Babs infused humor and heart when least expected. O’Connor’s work is consistently nuanced, drawing us into her character with an inexplicable familiarity.
Travis Lowe’s charming, scheming Aster blindsided me with unexpected humanity and compassion. He was, of course, terribly charismatic, with just a hint of “absent-minded professor,” which made the reveal of his kindness all the more effective.
Rounding out the ensemble was Stan Smith, whose “Professor” offered what no other characters could: wisdom and perspective. His raw and emotional monologues and revelations helped me better understand what it is like to look back from the end of one’s life.
Mann’s direction and crafting of this iconic tale truly elevated it. From his music choices throughout to his incorporation of dance, this production set itself apart for me. Setting the stage—quite literally—Amanda McLoughlin (who also served as intimacy coordinator) gave Mann’s vision a home that thoroughly supported the show in every way.
This is one of those shows that will linger in my mind for quite some time. It is something I will reflect on, having learned a lot through it—not just about the human condition but also about myself and my place in the world.
Life Sucks runs through March 30th. Showtimes are Fridays at 7:30 PM, Saturdays at 3 PM, and Sundays at 3 PM. Rating: PG-13 due to adult language, themes, and situations. For tickets: hendersonvilletheatre.org/life-sucks/