As my first ever brush with Chekhov, The Real Ivanoff, now in performances off Broadway, was quite the eye-opener. This ensemble-driven piece centers on a depressed writer named Ivanoff, played by the very talented Sam Underwood. As we follow his complicated character and his many connections, the play centers on moral quandaries and emotional highs and lows. This show is incredibly unique, strangely staged, and utterly unforgettable, even in depicting heavy subject matter. Sam Underwood is the focal point. We open with a simple set that consists of a lone book laying on a bench. From there, Nikolai Ivanoff emerges and communicates with various characters, including a distressed doctor about his wife Anna’s tuberculosis diagnosis. The show paints Ivanoff early on as selfish and self-serving, though he is deeply complex. He still makes sure to remind the audience over and over again about his transgressions and selfish nature.
Split into four distinct acts during different times of Ivanov’s final years with his wife, the play stages each segment differently, while always finding ways to utilize the ensemble at hand. There are a couple major miscasts in my opinion, but none that totally break the flow. There could have certainly been more depths to some of these performances, but that’s neither here nor there. The period-accurate costumes are deliciously perfect. At one point in the show, a single line of light lighting the way of a long red carpet strip is the only element seen on stage. It evolves into a sea of chaotically preposterous activity, one which didn’t quite work for me. The rest of the plot centers on Ivanov’s struggles with depression, figuring out how to juggle a whirlwind romance with a potential mistress amongst the crumbling love he feels for his wife, Anna, who is literally dying right under his thumb. The ramblings of an annoying doctor are amusing, and the comedic relief does a lot of heavy lifting.
If any actor truly embodies the role and knows the material from front to back, that is Underwood himself. As the titular character, Ivanoff is not just the centerpiece, but also the dramatic thrust to every single situation. His dynamics with each character are paramount to the endgame, which comes with a shocking exclamation mark. With so many ideas and such varied staging, The Real Ivanoff manages to stay engaging throughout its breezy hour and forty minute runtime. Perhaps several precious minutes could have been shaved off, or it could be expanded to fit a traditional two act structure typical with longer plays. However, this being a work written by Chekhov leaves little room for a different interpretation.
Other interesting staging aspects come by way of a carpet rolled onto the stage, or a table plopped in the center of the room. All the elements come together to create a constant flow of movement that permeates throughout. It could have benefited from adding even more scenes that focused on Ivanoff alone. He’s by far the most compelling character, and his big monologue is exceptionally well acted and performed. Some others that I really enjoyed in this latest interpretation included Sam Adegoke, who was also Underwood’s costar in the beloved CW drama Dynasty. Here, he plays drunkard Borkin, best friend of Ivanov. Other solid performances come from the parents of Ivanov’s mistress, Sasha.
As only the first dipping of my toes into Checkov I will admit finding some of the material intellectually difficult to crack. As is, The Real Ivanoff still emerges as hugely entertaining, although it does miss a few vital ingredients that I love to see from a compelling play. Whether you come for Underwood, or for a taste of Chekhov, The Real Ivanoff is an interesting slice of Off Broadway theatre that will leave you with plenty to think about amid its closing moments of madness.
The Real Ivanoff is now in performances at the Lynn F. Angelson Theater through September 19th. Ticking information can be found over at the official website.
