In this case, it’s Christopher Durang’s “Vanya and Sonia and Masha and Spike,” but I thought that headline might throw you off. Instead, I chose what I did and it’s apt, since Durang’s Tony award-winning play is riddled with nutcases running the asylum, as it were—in the form of Arthur Aulisi, Amy Laird Webb, Donna Jean Fogel and Malcolm Strother, respectively.

In addition to the title characters, there are a few other oddballs mixed in, specifically Nina and Cassandra, played by Lexee McEntee and Thomas Cambridge, in that order.

Now that I’ve gotten the preliminaries out of the way, I can get to the meat of the matter, which is, of course, the production itself. As mentioned, Durang’s play is an award winner, but the playwright (1949-2024) is no stranger to accolades and enjoyed great success with more than a dozen other works, including “Sister Mary Ignatius Explains It All for You” and “Beyond Therapy.” But it was Vanya and Co. that delivered Broadway’s coveted golden statuette in 2013, and with good reason. It’s hilarious.

That said, I’m a bit conflicted, since the theatre critic in me really wants to critique, while the enthusiast in me just wants you to buy a ticket and experience the often riotous play for yourself, without any preconceived notions that I might somehow flood your psyche with. Confused? I’m sorry—I’ll try to be more direct.

If the title of the play means nothing to you, it’s only because (like many of us) you might be unfamiliar with the works of Russian playwright Anton Pavlovich Chekhov (1860-1904), who (according to the Google) is “considered to be one of the greatest writers of all time” and “one of the three seminal figures in the birth of early modernism in the theatre,” along with Henrik Ibsen and August Strindberg. 

Wait! Don’t go! This one is a spoof of Chekhov’s “great literary masterpieces” and is riddled with more than a few nods to his body of work, but is by no means limited to having a vast knowledge (or any, for that matter) of the dead playwright’s considerable catalogue. In fact, I sat with a couple of people who I am fairly sure might (might) have heard of Chekhov, but were likely unaware of some of his famous plays (“The Seagull,” “Three Sisters” and “The Cherry Orchard,” to name but a few) yet laughed throughout, based on Durang’s sendup of the same.

As for the actors themselves, if they were somehow previously unaware of the Chekhov plays, I feel certain that “Vanya” director Christopher Peditto schooled them properly during the rehearsal process, as they seemed quite comfortable with and adroit at lampooning those being referenced. 

The critic in me wants to mention that there’s a difference between “brisk pacing” and “racing through dialogue,” which (imho) does the writer a disservice, since “the play’s the thing,” and I wanted to really hear all of the clever lines being delivered with lightning speed, which was often the case. Coupled with not-so-great acoustics in what can only be considered a cavernous space, I know I wasn’t alone in missing some of the hilarious dialog wafting into the rafters. Two words of advice: Slow down.

At the risk of singling anyone out in what is truly an ensemble show, I should probably point out that each actor has moments to shine, especially Webb, Aulisi and Fogel, who as the funny-but-damaged siblings rose to the occasion repeatedly, and really soared in Act Two. All three managed to careen through pathos-laced hilarious antics, and since they’re all skilled actors, the audience delighted in their performances, rushed though they might have been.

As Spike, Malcolm Strother’s job is to portray an insanely sexy, yet dimwitted foil to Fogel’s ego-driven movie star persona, and he does so with aplomb, thanks in part to constantly removing most of his clothing. That is much to the delight of Aulisi’s “Vanya,” who is less than subtle in his admiration of the fickle boy-toy that Masha adds to the mix during her visit, which serves as the catalyst for much of the action.

Left in lesser hands, the somewhat thankless role of Nina could be lost in the shuffle, but McEntee is skilled and adds charm and likeability, especially while unwittingly infuriating the egomaniacal movie star—who should take more advantage of wearing a hoop skirt. That’s a missed opportunity of comedy gold just waiting for direction.

Last but not least, is the character of Cassandra, not so loosely based on the Greek tragedy character of the same name. As the cleaning woman/soothsayer in Durang’s play, Thomas Cambridge has a field day warning the other characters of terrible things awaiting them throughout the play, but I’m perplexed as to why director Peditto chose him to play a role that is traditionally portrayed by a female. It’s not that Cambridge isn’t comically gifted—he is—but surely there are women out there chomping at the bit to sink their teeth into the role. We’re not talking a drag-inspired reinvention of the character here, just Tommy in a skirt and turban, goatee and all. I just didn’t get it. Thankfully, he’s very funny.

The theatre critic in me wants to expound, but the enthusiast in me really, really wants you to purchase a ticket, support local theatre and make up your own mind about what works (or doesn’t, for that matter) in this funny, funny play that (at the end of the day) is absolutely entertaining. We’re so fortunate to have a wide variety of theatrical opportunities to experience here in the Upper Delaware River region that I would implore you to go, see and get back to me, should you so desire. My not-so-humble opinion is vastly less important than yours. 

Fun Fact: “The play’s the thing” is a line in Act 2, Scene 2 of William Shakespeare’s “Hamlet,” in which the title character says “The play’s the thing/Wherein I’ll catch the conscience of the king.” 

“Vanya and Sonia and Masha and Spike” has two more performances at the Delaware Valley Opera Center in Lake Huntington, NY, on Saturday and Sunday, October 11 and 12. Go to www.myrivertickets.com for reservations.