★★★

“a little more finesse in both writing and performance could have shifted things up a gear from good to really, really great”

Being dumped sucks. Being dumped after a decade in a relationship? Well… that’s something else. Natasha Santos’ script and performance explores the trauma – and ultimate redemption – in forensic detail.

The Everest of the title is Rob Everest, Libby’s (now) ex-boyfriend and sometime nemesis. Santos has great fun as Libby, clearly enjoying the playfulness of her script and exerting considerable charisma. And she gives us lots to enjoy; Libby regales us with her woes via clever musical accompaniment and much wit. We’re treated to flashbacks to her childhood friendship to the strains of the Spice Girls, an excruciating workout class to Salt-N-Pepa and, poignantly, José González’ Heartbeats as we see the first glimmers of Libby’s hope for a new life.

The music choices are uniformly great (what better break-up song is there than Nothing Compares 2 U?) and special mention must go to the choreography, which is hilariously on point. The trio flick into movements in perfect unison (including a memorable impersonation of Libby’s ex’s sexual prowess), adding a polish to the fast-moving performance.

With all the riotous humour of the piece, though, the production can at times feel overdone. Characterisations, such as that of Libby’s ghastly colleague Sandra, can creep towards parodic gurning, and this does a disservice to the quality acting on offer (both of Santos’ fellow actors Grace Dunne and George Vafakis more than hold their own here, with some beautifully wry performances). Some of the more extreme caricatures of heartbreak feel more than a little hackneyed, as Libby knocks back the Pinot and drunk dials Rob to sing Whitney down the line. And small details can feel distracting and detract from an otherwise smooth production; pretending to swig from empty wine bottles feels like a mimicry too far, for example.

It’s great to see such a defiantly female-led production, from Santos as writer and lead to director Katherine Timms and especially great work from technical designer Abi Toghill. And it’s an appealing production, too. Just a little more finesse in both writing and performance could have shifted things up a gear from good to really, really great.

Reviewed by Abi Davies

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.

The Hope Theatre

Reviewed – 29th April 2019

★★★

“a little more finesse in both writing and performance could have shifted things up a gear from good to really, really great”

Being dumped sucks. Being dumped after a decade in a relationship? Well… that’s something else. Natasha Santos’ script and performance explores the trauma – and ultimate redemption – in forensic detail.

Reviewed by Abi Davies

Getting Over Everest

Hope Theatre

Last ten shows reviewed at this venue:

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: