Tag Archives: Chekhov

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“The Seagull” at the Barbican Theatre

In their new adaptation, Thomas Ostermeier and Duncan Macmillan revel in the metatheatrical potential of Chekhov’s masterpiece. It isn’t hard to see the opportunities in a play with so many actors and so much talk about writing. But the fun had here makes the night entertaining and brings out its humour in a fresh and exciting, way.

The updated touches in the script feel light under Ostermeier’s direction. You might expect vaping and VR headsets to appear, but credit where it’s due – Billy Brag songs and bingo weren’t on my card, and a Bella Freud-inspired T-shirt is an excellent touch (Marg Horwell’s costumes are terrific).

The stand-up microphones on stage throughout, used by characters to address the audience and emphasise lines, might be used too much. But the idea is effective. It’s clear everyone is ‘performing’ their roles and there’s a brilliant moment when amplification is removed. Combined with a thrust added to the Barbican’s stage we see a lot of action in The Seagull as contrived – which is often funny and also moving.

If this were all, I’d be happy. The Seagull is a legendary text and to have left a mark on it is an achievement. But it gets better, as some of the most memorable characters in theatre are brought to life with a stellar cast of players who do each role proud. 

Megastar Cate Blanchett does not disappoint as the famous actress Irina Arkádina, matching Ostermeier in balancing the comic and tragic. All eyes are on her, of course, which is appropriate for the role, and that’s a fact Blanchett uses intelligently. Irina’s counterpoint is the writer, her lover, Trigorin. The reserved performance from Tom Burke is in danger of fading into the background, but this is deliberate, and Burke uses great skill to prevent it happening. A more sympathetic and tormented figure than you might expect, his watching – which sets him at a remove – is worth watching. 

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Tom Burke and Emma Corrin

The whole cast is superb, and the stories of frustrated lives and loves are evenly handled. Jason Watkins is a particularly touching Peter, the retired civil servant who fears he will die before he has lived, while Paul Bazely, Priyanga Burford and Paul Higgins are strong enough to make you reconsider the middle-aged love triangle with Doctor Dorn and the Shamrayevs. Which is all part of the production being especially strong when highlighting the generational divides in the play. This is a credit to all, of course, but the younger characters truly shine. 

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Zachary Hart and Tanya Reynolds

There are raw performances from Tanya Reynolds and Zackary Hart as Masha and Medvedenko (now a factory worker rather than a teacher) making the theme of unrequited love heartbreaking. Emma Corrin’s Nina is distressingly vulnerable, an admirable departure for the actor. And it is a thrill seeing Kodi Smit-McPhee as Konstantin. Like his fellow author, there is a deal of restraint here that is impressive and allows us to wonder about Irina’s cruel observations on Konstantin’s immature works, his “immersive Cirque du Soleil”. It’s the first time I’ve considered that maybe Konstantin’s art isn’t very good.

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Jason Watkins and Kodi Smit-McPhee

It’s not just their clothes (praise again for Horwell) or nods to nepo-babies that make these Gen Z figures topical – there’s also a sense of impending doom that fits Chekhov well. The frustration is more urgent than the original (current affairs get a mention), which might remind audience members of Ostermeier’s politically engaged An Enemy of the People early last year. Such forced contemporaneity can be a turnoff. But together with the strong comedy and careful attention to all characters, even purists should be pleased with this tremendous show.

Until 5 April 2024

www.barbican.org.uk

 Photos by Marc Brenner

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“Vanya” at the Duke of York’s Theatre

The idea behind this new work, described as ‘after’ Chekhov’s masterpiece, is to have one performer take all the roles. If your first response is to ask why, trust me, there is a point. An important point. Vanya simultaneously distils and expands its source material: showing the original as never before, while exposing the power of creativity itself in a way that is inspirational. This show is magical.

Director Sam Yates, designer Rosanna Vize, playwright Simon Stephens and the solo performer, Andrew Scott, are credited as co-creators. And what they have created is very special indeed. The project might seem foolhardy, that it works so well is a continual delight. Vanya is funny – the limitations of having one performer are playfully acknowledged. But – quickly – we start to really see all the characters; each role becomes fully – literally – realised.

Yates, a versatile director, is clearly hard to intimidate; he paces the production, close to two hours with no interval, gracefully. There’s nothing showy, no distractions, and he has the confidence to let us enjoy the text and the star. Vize’s design cleverly combines theatricality, there are grand curtains and plywood, with the domestic. There is a playful balance of artifice and the everyday.

Stephens is a bold writer of ferocious intelligence. It certainly helps to know Uncle Vanya, but pointers as to what is going on come with skill as well as providing jokes. Importantly, humour runs through the script and scenario too so that Chekhov’s comedy becomes clear. There’s a lot of insight into the original; the presence of Anna, Vanya’s deceased sister, is revelatory. Chekhov’s themes of boredom and happiness – with all the dramatic permutations around love, age, and ambition – are vivid and alive.

As for the performer… it must be odd to be as talented as Scott! Expectations might even detract from his achievement, as everyone just knows he’ll be great. But swapping roles of such different ages and genders so brilliantly, for such an extended duration, is breath-taking.

Technically, distinguishing each character by carefully using small props or gestures is fascinating. But Scott makes the show uncannily emotional (he always expresses vulnerability marvellously). There are a lot of unhappy people here and you feel for them all in turn. Even the intellectual Serebryakov, usually so unsympathetic and recast a pretentious film director, is heart-wrenching. And Scott is a stong comedian, the cackles he gets from talking about cartography show this. All amazing, but when it comes to scenes of physical intimacy between the characters… what to do? Scott subtly wrestles with himself. Stroking or grabbing a hand, or pushing himself against a wall. Somehow, and I cannot explain it – the show is sexy. And, I can’t help repeat myself, such moments in the theatre are magical.

The idea of art that, like Serebryakov’s films, “defines”, is mocked by Vanya. The character makes his point forcefully. But this is theatre that will be remembered and talked about for a long time. The only problem is running out of superlatives to describe it.

Until 21 October 2023

www.thedukeofyorks.com/vanya

Photo by Marc Brenner

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“The Cherry Orchard” at The Yard Theatre

Chekhov in space turns out to be a great idea. Vinay Patel’s inspired version of the Russian classic has theatre’s most famous trees on a spaceship that is searching out a new home for humanity. The mission is led by successive generations of clones, who have plenty of time to philosophise while those below deck do the work. With a new take on an aristocracy (whose members are actually inbred) and plenty of speculation on the human condition, Patel’s adaptation is stellar.

It makes sense that the astronauts are either wildly busy keeping the ageing ship going or have plenty of time to lounge around displaying a mix of ennui and desperation you can recognise as Russian. But Patel’s version stands happily on its own – you don’t have to know the source material. True, some dialogue is clunky (maybe it seems strangely dated)? But the characters are dealing with the weight of the past, even if the action is set in the future. The mission started centuries ago and how much old aims and rituals should shape lives becomes a burning question.

The performances are overall good – but not all are great. While Patel handles the classic plus another genre on top, juggling both proves too much for some actors, who seem stuck in a more traditional version of the play. There’s some waving of hands (ironically, explicitly warned against in the script) and stagey yawning (you know the type). And some delivery emphasises rather than accommodates long-winded speeches. It should be stressed that possibly the hardest role, a reimagining of the play’s manservant, isn’t part of these reservations. Despite being literally robotic, Hari Mackinnon’s Feroze is full of life.

Thankfully, a central trio of relationships – between the Captain, one of her daughters and an aspiring engineer – is strong, with excellent performances from Anjali Jay, Tripti Tripuraneni and Maanuv Thiara, respectively. Jay’s matronly role is aided by a focus on the fate of her son that leads to emotional moments. Her character aims to be “warm but at a remove”. That she does not quite manage this gives Jay a great deal to work with.

The production glides over some of the odder moments of Chekhov – the characters’ strange emotional intelligence and obsessions – which Patel, wisely, doesn’t linger on. All that misery and unrequited love can prove tiring if the pace isn’t strict, and director James Macdonald handles this perfectly. There’s also an atmosphere of menace that is particularly impressive.

Final praise goes to the convincing design. Even a decrepit spaceship on a budget isn’t easy, but Rosie Elnile makes shabby touches work for her. And her design suits the space perfectly. The use of a revolve and windows in the ship are simple, subtle and effective. Which really sums up the whole production. Behind the headline of a radical new version, the show works in a clear and concise manner.

www.theyardtheatre.co.uk

Until 22 October 2022

Photo by Johan Persson

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“Uncle Vanya” at the Old Red Lion Theatre

Reconsidering Chekov’s classic play in the light of lockdown sounds interesting. The “idle life” is something most of us experienced during Covid and it can be argued that generational conflicts – a forte for Chekov – have been exacerbated by the epidemic. But don’t be fooled by the sales pitch for Candid Broads’ production. Set in Russia, and in the past, there’s no explication of new ideas. This is a pretty traditional Uncle Vanya. And, unfortunately, it is not a very good one.

To be fair, the production isn’t weighed down by period detail – good. And changes to dialogue are handled well so that speech feels fresh, even if you wouldn’t call changes radical. There’s an emphasis on any self-awareness characters display (plentiful in the text) that is interesting. As an adaptation, this Uncle Vanya shows promise. But Kieran Bourne’s direction and, I’m afraid to say, his cast, let the production down.

Too many of the performances seem a struggle. Much of the acting is too declamatory. The cast circle around the small space for no reason, fumbling with tea cups and shot glasses, in search of something to do with their hands. Differences of emotion are expressed too often simply by changes in volume. There is little sense of continuity with the majority of characters – as if scenes have been rehearsed in isolation without thinking how they fit into the play as a whole. And there’s another big problem – some characters, most notable David Whiting’s Serebryakov, have been abbreviated so much that comprehension is endangered: without previous knowledge of the play you might struggle to work out what is going on.

There are exceptions. Sally Faulkner does her best to anchor the show, injecting some much needed humanity as the family servant Marina. Faye Bennett’s capable performance also stirs emotions as the lovesick Sonya. Along with Jonathan George, who takes the title role, Bennett is the only one who manages Chekhov’s humour. George is very good indeed – technically superior and able to swiftly convey the play’s themes and tensions. We understand Vanya’s struggle quickly and wait for developments that George delivers with confidence. But Uncle Vanya isn’t just about Uncle Vanya! Even George’s achievement comes with the bitter edge of highlighting the production’s faults.

Until 14 May 2022

www.oldredliontheatre.co.uk

Photo by Hansof Waller

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"Uncle Vanya" at the Harold Pinter Theatre

For a play with so much unrequited love among its characters, Conor McPherson’s adaptation of Chekhov’s classic is quite the comedy. The production emphasises the humour in the original, adds some knowing laughs at our expectations of Russian gloom and isn’t even shy to try some slapstick. It makes for one of the most entertaining Chekhovs I’ve seen and deserves huge success as a result.

Toby Jones gets the laughs as the long-suffering titular character, in love with Yelena who has married into his extended family. It’s nice to be reminded of what a natural comedian Jones is, even if there are moments when you might want to feel for his hound-dog character a little more.

Rosalind Eleazar and Aimee Lou Wood in Uncle Vanya at the Harold Pinter Theatre
Rosalind Eleazar and Aimee Lou Wood

Yelena, a sympathetic figure with the help of Rosalind Eleazar’s excellent depiction, has to deal with Vanya’s attentions while being caught in a love triangle with her step-daughter Sonya and the local doctor, Astrov. McPherson surprises again with a sweetness about the romances that comes primarily from Aimee Lou Wood’s brilliant portrayal of Sonya’s crush.

Richard Armitage in Uncle Vanya at the Harold Pinter Theatre
Richard Armitage

For both women, scenes with Richard Armitage’s Astrov, while full of sexual tension, contain a pragmatism that takes out some of their sting. It’s an idea that comes into its own at the play’s conclusion. I didn’t quite buy Astrov as a “helpless animal” because of his passion. By the end it seems I am not supposed to; life goes on despite the trials of the human condition.

Behind the humour, Uncle Vanya is all exhaustion and anhedonia – does this ring hollow amongst the laughter? Or has McPherson created a new tonality for us to consider? There’s no doubting the crispness of his writing or his strong vision. Aided by Ian Rickson’s direction, each household member makes a distinct impression and the action is easy to follow – the production is exceptionally clear. The speech is unintimidating: characters even blow raspberries, expletives are used wisely and monologues direct to the audience provide an intimacy that feels natural.

Dearbhla Molloy in Uncle Vanya at the Harold Pinter Theatre
Dearbhla Molloy

As for McPherson’s ideas, quite rightly, he focuses on the women in the play. Along with Eleazar and Wood, there’s superb support from Anna Calder-Marshall and Dearbhla Molloy. Like most of the characters, Vanya is obsessed by his years – he’s reached the grand age of 47 (makes a man think). But McPherson’s show is marked by youthful appeal. Concerns about the forest (made graphic with the Doctor’s hobby of historical map making) ring environmental alarms that feel topical. And the play’s final words go to the next generation. Sonya’s will to struggle on ends the show on an appropriately optimistic note. There may be only one candle as the curtain descends, but there’s plenty of light.

Until 2 May 2020

www.unclevanyaplay.com

Photography by Johan Persson

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“Three Sisters” at the Vaudeville Theatre

The world-renowned Maly Drama Theatre of St Petersburg and its director Lev Dodin have a phenomenal reputation. The company’s visits to London are anticipated events for theatre aficionados and, with only ten performances this time around, you should hurry to get a ticket. Maly’s work is an example of high expectations fulfilled, and this production of Chekhov’s classic does not disappoint.

Dodin and his talented cast of performers (embedded in the company in a fashion that’s rare in the UK nowadays), create the perfect mix of melancholy and humour. Initially it is the comedy that stands out – a combination of looks that are laugh-out-loud funny and a subtle appreciation of the play’s more ridiculous moments. It feels surprisingly light at times, confident and relaxed, despite the surtitles ruining some of the jokes.

This Three Sisters is very much Irina’s play and not just because of the masterful performance from Ekaterina Tarasova, who takes the role. Irina is full of energy and promise, Tarasova appropriately captivating and funny. The younger sibling has all the men from the local regiment courting her and is amusingly contemptuous. Her despair at rural life is allowed to grow convincingly – it starts off almost sweet, so that it becomes a real tragedy rather than just a trope.

This play of unfulfilled dreams and desires has plenty of painful moments. Masha’s adultery with the philosophising Vershinin is made into a passionate affair, with Ksenia Rappoport revealing a palpable mania within the character that makes her performance exciting. As for the eldest of the trio, Olga’s career as a school teacher develops into a case of genuine despair (often a tough ask) with a brilliant performance from Irina Tychinina. Her metamorphosis into a formidable figure by the finale – where she seems frozen, rigid with disappointment – is truly commanding.

That the characters change so much during the play is one of Dodin’s key insights, illustrated by the skilled performances he has nurtured (special note has to be made of Stanislav Nikolskiy’s Soleni, whose transformation by the final scene is stunning). The action takes place over four years, after all, and highlighting this gives the piece great momentum. In this potentially static play (there’s an awful lot of looking out of windows), Dodin carefully adds a sense of action. Even Alexander Borovsky’s set – an outline of the Prozorov home – moves, advancing towards us as tension mounts. Action creeps into the audience with steps leading into the stalls.

Dodin’s appreciation of Chekhov’s rhythm is clear, the balance he injects precise and controlled without feeling forced. There’s no doubt that there is a master in our midst. The production is a fantastic chance to see a superb director at work.

Until 29 June 2019

www.nimaxtheatre.com

Photo (c) MDT

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“Three Sisters” at the Almeida Theatre

Cordelia Lynn’s new version of Chekhov’s masterpiece is bold and fresh to the point of being revelatory. Lynn enforces the play’s bleakness, with plenty of espousals that life is pointless, yet presents us with a perky trio who are approachable, recognisable and funny. There’s no shying away from the fact that Chekhov’s heroines have an air of the elite; you might ask them to check their privilege. But Lynn makes the struggles of each – in love and work, with the health of all three suffering – relatable, thought-provoking and moving.

Taking the three iconic sisters way past stereotype is not an easy task. Lynn’s muscular dialogue is well served by three performers who are excellent; it’s pleasingly impossible to single out either Pearl Chanda, Patsy Ferran or Ria Zmitrowicz, who all work well together. It’s fantastic to see how funny each can be in each character’s own particular way. Note the difference with the role of their sister-in-law, vividly portrayed Lois Chamimba, which comes into focus wonderfully: she’s a character we laugh at rather than with. Lynn has done justice to the play’s male characters, too. Her version retains some dignity for Elliot Levey’s cuckolded teacher, has sympathy (more than I) for the sister’s brother that Freddie Meredith does well with and uses Alan Williams’ Doctor to further focus themes. The role of Irena’s suitor is the big surprise, though; the character’s optimism comes to the fore as a foil… for a while. It’s a bonanza for Shubham Saraf, who takes the part.

Shubham Saraf and Ria Zmitrowicz

With superb performances and an exciting text, reservations risk sounding trivial, as they become matters of taste rather than criticism. The usually excellent designer Hildegard Bechtler has left the show looking a touch too modish. While not specifically updated or relocated, these three sisters are out of time and place, no matter how often Moscow is mentioned so all the mismatched chairs and Anglepoise lamps, along with the final scene played on bare ground (a big effort for little result), make the aesthetic too contemporary. And might director Rebecca Frecknall’s work also be a touch heavy handed? It’s easy to see the temptation. Several scenes are “all a bit strange”, with moments of staccato delivery and portentousness. Maybe Lynn, like the character Masha, is impatient with the “talk talk talk” in the play – she brings out ideas with sometimes blunt directness. Perhaps Frecknall should have tried to inject more subtlety? Alternatively, she reflects Lynn’s forcefulness and does justice to her vision. It’s a fine line that makes for a pleasing debate.

Until 2 June 2019

www.almeida.co.uk

Photo by Marc Brenner

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“The Seagull” at the Lyric Hammersmith Theatre

Simon Stephens is a busy man. This week his play Heisenberg received its UK premiere and his new version of Anton Chekhov’s classic has opened. Dauntlessly tackling the 1895 piece, full of unrequited love triangles, the passion and depression in the original comes into focus. There’s no period frippery – not a samovar in sight – no agendas and the sometimes ponderous discussions of Art (capital A) feel unforced. The language is efficiently modern and startlingly down to earth: “get a grip,” says one character. Stephens has grabbed Chekhov ferociously.

There’s plenty of fresh insight and energy all around, abetted by Sean Holmes’ direction and a strong cast. The production is marked by direct addresses, admittedly not all successful, that illustrate a determination to engage the audience. Brian Vernel’s Konstantin has an indie rock star vibe (despite the classical mix in the show’s excellent soundtrack) that makes him feel modern. His unrequited love, Nina, gains a similarly contemporary touch from Adelayo Adedayo’s performance. The character is desperate for fame, fame, fatal fame. But when that dead seagull is presented by Konstantin in a plastic bag she wallops him with it: good girl! Getting in the way of their love, Nicholas Gleaves plays the writer Trigorin with a dash of aloof celebrity that aids the coherence and relevance of Stephens’ approach.

Cherrelle Skeete as Marcia
Cherrelle Skeete as Marcia

The real star of The Seagull is the actress Irina, and Lesley Sharp grasps this part magnificently. While her desperate love for Trigorin is clear, and explicitly depicted, the production calls for her comic skills and Sharp delivers. This snobby Sloane gets laughs for every “darhling” she utters. There are a lot of laughs all around in this production, with the play’s many characters each getting a turn, as desires battle with a cynical cruelty that’s surprisingly funny. Stephens has a great eye for eccentricity and the crazy things this boho crowd gets up to. As the depressed Masha, renamed Marcia with an impressive performance from Cherrelle Skeete, observes: “People are just odd.”

Humour is maintained for a long time. I suspect it might annoy some people. But we know The Seagull is a tragedy and changing key is Holmes’ biggest achievement. For the final scene, mental health issues come to the fore. We see how obsessive, in their own ways, all these characters are. A lot of anger is revealed and not just in the case of our young lovers. The delusions and detachments we’ve been laughing at become dangerous amongst such fragility and an acute sense of the toll time has taken on all. Stephens appreciates the complexity of Chekhov’s vision and has orchestrated it in a new and exciting manner.

Until 4 November 2017

www.lyric.co.uk

Photos by Tristram Kenton

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“Three Sisters” at the Union Theatre

Director Phil Willmott uses award-winning American playwright Tracy Letts’ version of Chekhov’s masterpiece to deliver a fine new production with wide appeal. The adaptation, faithful to the structure and events in the original, is direct, forceful and clear – all qualities embraced and amplified by cast and creative team.

Celine Abrahams, Ivy Corbin and Molly Crookes play the eponymous siblings conscientiously. Trying to work out how to live while yearning for Moscow, each performer injects plenty of energy and angst. Joined by Benjamin Chandler as their younger brother the consistent impression is of brattish siblings suffering from “endless winter and talk”. All four performers develop their characters with precision to crisis pitch.

It’s the partners and lovers who benefit most in this production. Francesca Burgoyne, as detested sister-in-law Natasha, reveals the layers of her shrewish role well. Stephen Rodgers makes Masha’s husband more substantial than the wimp he appears on the page. And Masha’s lover, the philosophising Vershinin, becomes especially moving due to the skill of Ashley Russell. Two younger roles, soldiers in love with Irina, also stand out due to a careful performance by Tom Malmed as Tusenbach and Hugo Nicholson’s virile energy in the role of Solyony.

Willmott manoeuvres his cast expertly; it feels as if theatre-in-the-round is the only way to stage this play with debates and ideas flying around. The pace is speedy, once or twice too swift, with no fussy touches to diminish tragic events or lessen the seriousness of frustration. This is an angry show and emotions explode as often as they simmer. If there’s a fault, Chekhov’s humour is ignored. There’s little sense of the ridiculousness of situations and few attempts to raise even a smile. But the melancholy air of the play is aimed for with confidence, and that target hit with resolution.

Until 4 February 2017

www.uniontheatre.biz

Photo by Scott Rylander

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“The Seagull” at Regent’s Park Open Air Theatre

Given that The Seagull opens with its hero Konstantin putting on an outdoor performance, Regent’s Park feels a pretty good match for Chekhov’s play. The stunning venue is enhanced by Jon Bausor’s splendid design – a giant mirror hangs above the action, literally adding another dimension to reflect upon. Matthew Dunster’s production looks fantastic, but sadly there’s too much chasing after laughs so the play falls curiously flat.

The problem isn’t so much with Torben Betts’ new adaptation of the play – although the language is sometimes too direct, it can be good to shake up a classic. This version is easy to follow and feels modern. Rather, it’s Dunster’s emphasis on the comedy; he gets plenty of laughs but the humour doesn’t build and the play’s more poignant moments feel thrown away. Some characters suffer dreadfully: Medviedenko, the teacher, is reduced to a comedian with just one punch line, the ever-miserable Masha a wailing drunk and the young leads are simply too gauche. Matthew Tennyson and Sabrina Bartlett hold the stage as the aspiring artists Konstantin and Nina, and their naiveté gets laughs but both actors aren’t given a chance to delve deeper.

Other roles fare better. The writer Trigorin’s ego fascinates. Alex Robertson makes him funny and irritating – a petulant take on the character that’s interesting. And Janie Dee’s Arkadina manages to be at once jolly and roundly three-dimensional. Dunster is strongest with group scenes, highlighting uncomfortable dynamics as an “angel of the awkward silence” is said to descend. Also interesting are the two servants (Tom Greaves and Tara D’Arquian), who giggle at innuendo and silently respond to events.

The production also has the novel device of using a voiceover for character’s thoughts. It’s certainly startling but privileges certain players too much. Frustratingly, despite being inside their heads, we don’t feel any closer to them, and this internal dialogue is used indiscriminately and again mostly just for laughs. Nice try, but this showy device is symptomatic of a production that tries hard but doesn’t hit anything… apart from that poor seagull, of course.

Until 11 July 2015

www.openairtheatre.com

Photo by Johan Persson