BWW Reviews: Verge Theater's THE NINA VARIATIONS

You don't have to be a devotee of Chekhov - you don't even have to be a fan of live theater necessarily - but it clearly helps if you are in the audience for Verge Theater Company's production of Steven Dietz's The Nina Variations, which is sometimes whimsical and oftentimes dramatic in the rich tradition of Russian literature.

Written by Dietz after he was inspired by the final scene of Chekhov's The Seagull (he'd been approached with the idea of writing a new translation of the play, considered by many to be the Russian playwright's finest work), The Nina Variations offers up some 42 different versions of that final scene , complete with both prologue and epilogue.

Verge Theater makes an auspicious debut (even if it's been a part of Nashville's burgeoning theater scene as the heretofore known Five Dollar Recession Theater) with the one-act piece that, in director Jaclynn Justing's concept, features three focused actors playing the young actress Nina in different incarnations imagined by Dietz, and one impressively versatile actor who is nothing short of amazing as the young playwright Treplev.

Performed upon a cleverly designed and beautifully realized set by Amanda Sweger (with a stunning backdrop of crumpled papers and a paper sculpture downstage left that is exquisitely presented), featuring the lighting design of Paul Gatrell, costume design by Jessica Mueller and sound design by Graham Mote, The Nina Variations is both visually and aurally stunning, giving the production physical attributes that support the company's theatrical pedigree. Headed by Nettie Kraft, a popular stalwart of local theater (her influences are felt via her work with Nashville Shakespeare Festival, Belmont University, Lipscomb University and the TV series Nashville, for which she is the cast's dialect coach), Verge Theater has lofty goals: To present uncommon theater for a theater-going public in search of challenging, perhaps unlikely work.

The Seagull, of course, has inspired various adaptations - both onstage and in film - including Aaron Posner's Stupid f-ing Bird, a stage comedy that is currently making audiences laugh in productions throughout the country; Christian Camargo's abysmally reviewed 2014 film version Days and Nights, which starred Allison Janney, Ben Whishaw, Katie Holmes, Mark Rylance and his stepdaughter Juliet Rylance, and Tennessee's own Cherry Jones; Christopher Durang's Vanya and Sonia and Masha and Spike can trace its lineage to The Seagull, as well, and it's one of the year's most-produced plays and a definite favorite of Nashville audiences, what with productions by both Tennessee Women's Theater Project and Nashville Repertory Theatre; and an upcoming film adaptation starring Saorse Ronin and Annette Bening, among others. But Dietz, perhaps the most popular contemporary playwright among Nashville theater companies, judging from productions of his work over the past few years, released his play in 1996, and since it contains a beautifully worded and artfully presented treatise on the role of theater critics, it is quite possibly my favorite. Far be it from me to spoil your theatrical adventure; you'll just have to see it for yourself.

Justin Hand once again proves his versatility with an inspired performance as Treplev, playing opposite the luminous Kristin McCalley as Nina Variation 1, Holly Butler as Nina Variation 2 and the aforementioned Kraft as Nina Variation 3. Hand, whose physical presence and skillful portrayal finely skirts the comedic/dramatic schism of his character, somehow remains understated and engaging under Justing's perfectly modulated direction. Each of the other actors give cohesive performances as Nina that are underscored by each woman's supremely individual work. Landiss is ethereal and flighty, if sometime shrill as the youngest of the Ninas, while Butler is girlish and flirtatious in her scenes with Hand. Kraft, on the other hand, seems more thoughtful and restrained. Together, Justing's ensemble keep the play's scenes moving seamlessly, making the passage of time unnoticeable and effortless.

• The Nina Variations. By Steven Dietz. Directed by Jaclynn Justing. Presented by Verge Theater Company at Belmont University's Black Box Theatre, Nashville, through May 30. www.vergetheaterco.org Running time: 1 hour, 20 minutes (with no intermission)

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