UNCLE VANYA at The Hope Theatre

★★★★★

“driven by a kind of energy and commitment that make it hard not to become invested”

I have to start this review with a confession. Despite loving theatre, and consistently pretending that I know lots about it, I have never consumed the work of one of its greatest writers. That’s right, I’ve never seen a single minute, nor read a single word, of Chekhov. And so, for me, the Hope Theatre’s production of Uncle Vanya was actually quite significant. Would it interest me? Would I understand it? More importantly – would I like it?

Yes, yes, and yes.

Adapted by Brendan Murray, Chekhov’s four expansive acts are stripped down into four tightly directed scenes bursting with emotion. The play begins in the aftermath of the disruption caused by Serebryakov, a former professor who has returned to the family estate along with his young wife Yelena. The estate is thanklessly managed by his brother-in-law Vanya and daughter Sonya, but now Serebryakov has new and worrying plans for it. Meanwhile, Vanya and country doctor Astrov have fallen in love with Yelena, Sonya is hopelessly in love with Astrov, and Vanya’s mother is ignoring them all in the pursuit of women’s rights. They are a family full of hope as well as hopelessness, both longing for something more and relishing the order of conventional life.

Despite the small size of the space, the world of 19th century Russia comes to life brilliantly, as does the emotional core of the play. The portraits on the wall, bureau in the corner, and samovar perpetually present on the dining table give a distinct impression of the era without being too distracting. The only downside of the stage design is that actors often have to squeeze past tables and chairs (and each other) in order to enter and exit. Nevertheless, the use of the space is effective.

There is excellent acting, particularly from Esme Mahoney (Yelena) and Cassandra Hodges (Sonya). Both have gravitas, a strong stage presence, and a firm grasp of their characters’ complexities. Hodges is particularly impressive in the final scene, delivering the closing lines in a bold and moving manner. Rory McCallum’s Serebryakov is both wearying and invigorating; Adrian Wheeler’s Vanya is dry-humoured and world-weary. All capture the inner conflicts of their character in a believable manner, making them sympathetic if not always likeable.

There are places where I wish things had come to life more vigorously. I wish that certain scenes weren’t so rushed, or that more was made of Chekhov’s frequent injections of humour. But these are minor points. On the whole it is very enjoyable – not perfect, but driven by a kind of energy and commitment that make it hard not to become invested.

So if you, like me, desperately need to improve your street cred by finally seeing some Chekhov, this is the show for you. Accessible, well-acted, and engaging: an ideal introduction to the work of a great and complex writer.

Reviewed by Harriet Corke

Reviewed – 25th April 2019

Photography by Cameron Harle

Uncle Vanya

Hope Theatre until 11th May

Last ten reviewed at this venue:

Medicine | ★★★ | August 2018

The Dog / The Cat | ★★★★★ | September 2018

The Lesson | ★★★★ | September 2018

Jericho’s Rose | ★★★½ | October 2018

Gilded Butterflies | ★★ | November 2018

Head-rot Holiday | ★★★★ | November 2018

Alternativity | ★★★★ | December 2018

In Conversation With Graham Norton | ★★★ | January 2019

The Ruffian On The Stair | ★★★★ | January 2019

Thrill Me: The Leopold & Loeb Story | ★★★★★ | April 2019

Click here to see more of our latest reviews on thespyinthestalls.com

Post-Mortem

The Space

Reviewed – 17th April 2019

★★★★

“Sharazuddin’s writing is sensitive and balanced”

We are all familiar with the potency of obsessive teenage love. But what happens when that love is slowly devoured by circumstance, leaving trauma in its wake? Does time heal everything, or are some wounds irreparable?

Such a story should be impactful, written with purpose and precision. It is best told by engaging actors who can deliver rich, emotionally charged dialogue. A bit of choreography wouldn’t hurt, either.

Iskandar R. Sharazuddin’s Post-Mortem unites all these things to tell the story of Nancy and Alex, a couple whose tender, obsessive love for each other declines in the face of tragedy. The carcass of their relationship rattles with secrets, but it isn’t until ten years later – when they are best man and maid of honour at their friends’ wedding – that they come to light.

Sharazuddin’s writing is sensitive and balanced, a mixture of dialogue and monologues that illuminate aspects of their relationship and character. The image of them meeting in biology class whilst dissecting a pig heart (which Alex can’t touch, apparently, for religious reasons) perfectly sets the tone for their relationship and its eventual disintegration. Metaphors – the pig heart, Nancy’s obsession with hoovering, the wedding sonnet – elevate their caustic, subtly humorous conversations.

Small details provide a deeper insight into the characters’ emotional cores. Alex worries that his peers will make fun of his Asian heritage and homemade biriyani; Nancy comes from ‘a family of liars’, including a Lithuanian grandma who sits outside McDonalds and shouts at people. This hints at their respective insecurity and secretiveness, however these threads feel somewhat loose in the tightly woven tapestry of the whole. I would have loved to have seen these instances revisited in later scenes, both for the sake of nostalgia and to assert the importance of these formative feelings in determining the course of their lives.

Nevertheless, this is compensated for by the evocative movement sequences, which enhance and bridge the gaps between the fragmented scenes. Performed across the length of a white stage, they are beautifully illuminated by subtle lighting (set/costume design by Eleanor Bull and light/sound by Will Alder). It casts their shadows across the high walls of The Space, making the movement all the more haunting and beautiful.

Sharazuddin also performs in the piece, alongside Essie Barrow as Nancy. The pair have strong chemistry, which is clearly expressed in the movement sequences as well as in the dialogue. They engage with each other and the audience; their frequent eye contact makes it seem as though they are talking to us directly. Sharazuddin’s Alex is sensitive, yet reckless, whilst Barrow’s Nancy is strong and decisive. Their character development is subtle and believable and leads to a satisfying conclusion.

The one disappointment with this performance is that it was not well-attended. It seems a shame that such a well-constructed show should go unnoticed, especially given the thought-provoking nature of its content. Once seen, this sensitive and profound show leaves an impression that is hard to shake off.

UNCLE VANYA at The Hope Theatre

★★★★★

“driven by a kind of energy and commitment that make it hard not to become invested”

Yes, yes, and yes.

So if you, like me, desperately need to improve your street cred by finally seeing some Chekhov, this is the show for you. Accessible, well-acted, and engaging: an ideal introduction to the work of a great and complex writer.

Reviewed by Harriet Corke

Reviewed – 25th April 2019

Photography by Cameron Harle

Uncle Vanya

Hope Theatre until 11th May

Last ten reviewed at this venue:

The Space

Reviewed – 17th April 2019

★★★★

“Sharazuddin’s writing is sensitive and balanced”

We are all familiar with the potency of obsessive teenage love. But what happens when that love is slowly devoured by circumstance, leaving trauma in its wake? Does time heal everything, or are some wounds irreparable?

Such a story should be impactful, written with purpose and precision. It is best told by engaging actors who can deliver rich, emotionally charged dialogue. A bit of choreography wouldn’t hurt, either.

Reviewed by Harriet Corke

Photography courtesy Ellandar Theatre Company

Post-Mortem

The Space until 20th April

Last ten shows reviewed at this venue: