Review: Chekhov’s UNCLE VANYA at Old Red Lion Theatre until 14 May 2022

‘stand out performances and an incredibly striking set for this reimagined classic but it could be further developed’ ★★★ ½

With a writer like Anton Chekhov, and names such as Konstantin Stanislavski historically attached, it is not hard to see why Uncle Vanya holds such cultural significance. It is a key piece of work in our curriculums, along with many of Chekhov’s other plays. But the question that is always asked when Vanya, The Seagull, A Doll’s House, Three Sisters, etc is restaged is, ‘why?’

Directed by Kieran Bourne and produced by Candid Broads Productions, this production is billed as a reimagined classic. So often, Bourne says, is Uncle Vanya treated like a museum piece, not to be changed or altered, only observed in its truest form, but that was not what he planned to do with this piece.

As an audience, you’re desperate to gain trust in a production, so that you can settle into your seat knowing that was a ticket well-chosen. The design elements of Uncle Vanya did exactly that. Before a single word was spoken, we were treated to an incredibly striking set (designed by Giorgia Lee Joseph) that framed the space of the Old Red Lion Theatre beautifully. When we were exposed to the costume (designed by Heitung Kwok), it felt precise, well considered and purposeful.

As the performance began, we were delved into the intimate and complex relationships of this story and introduced to the first stand-out star - Sally Faulkner’s Marina. Her ‘Nanny’ was so gentle and emotive, it was hard to imagine she could be anyone else than her character. Another stand out performance was that of Faye Bennett as Sonya. Most notably, her physicality in the character displayed a clear understanding of the subtextual emotions, thoughts and opinions of the role.

These stand outs are not to say that the other performances were lacking - far from it. The standard of performance in this show were for the most part of a high quality, especially when it came to how relationships were built, from the tactile, genteel relationship between Vanya and Sonya, to the repulsed, exhausted relationship between Yelena and Serebryakov. The cast’s comic timing was also, largely, impeccable - no doubt a credit to director Kieran Bourne - with the overall nature of the show leaning into the darker comedy within the text.

However, these elements, fantastic as they were, made it all the more obvious when certain moments lacked the same structure, attention and purpose. Throughout, I found myself yearning for there to be more of a build up to each stunning crescendo.

This staging of Uncle Vanya was the first I’ve ever seen, and it did not disappoint in terms of its quality in all elements - design, direction, production value and performance - but was it so different from other stagings? In some ways, yes, but I do feel there was room for further reimagination.

Chekhov’s UNCLE VANYA

Old Red Lion Theatre

3 - 14 May 2022

https://www.oldredliontheatre.co.uk/

Original Text Anton Chekhov

Translation Luba Hilman and Clementine Pinet

Director Kieran Bourne

Production Designer Giorgia Lee Joseph

Producers Oriane Pick, Anaïs Ferrato, Agatha Ezzedine, Clementine Pine

Candid Broad Productions

Twitter: @CandidBroads_Pd