Review: Uncle Vanya, Orange Tree Theatre

Review: Uncle Vanya, Orange Tree Theatre

Summary

Rating

60

Good

In a theatre world always ready to deconstruct classic texts, it is refreshing to see a great classic play up close and personal.

Trevor Nunn clearly had no interest in doing anything too radical with his production of Uncle Vanya at Richmond’s increasingly influential Orange Tree Theatre. This is hardly a crime. If anyone has earned the right to treat a classic classically, after all, it is the former artistic director of the Royal Shakespeare Company. This, of course, risks his production feeling like a dusty museum piece. Indeed, the setting, design and costumes threaten exactly that as the lights come up. Fortunately, the fear soon dissipates. Why? It is entirely thanks, I think, to the intimacy of the Orange Tree Theatre auditorium. There’s a lot of nonsense talked about immersive theatre these days but you don’t have to suffer gimmicks and £100 tickets to feel part of the action here. In the stalls, we are never more than a few feet from the cast. I could have downed a shot of vodka with Vanya & Dr Astrov from my seat. It’s alive. It’s fresh and, whisper it so the Chekohvian purists don’t hear, it is a lot of fun.

I’ve always found Chekhov’s brand of misanthropy highly amusing in any case. There’s an old Jewish joke quoted in Woody Allen’s Annie Hall; “Boy, the food at this place is really terrible. And in such small portions.”  This is Uncle Vanya in a nutshell. Life is full of pain and suffering, but still over too quickly. Laugh? If you didn’t, you’d cry.

James Lance as the titular character certainly leans into the comedy. His depression seems of the manic variety, signposted perhaps too obviously by his uncombed Einstein-esque hair. Rather than wallow in self-pity, he twitches, tumbles over his words, wails and rails against the world; sometimes all in the one speech. He’s incredibly active. Too active? Let’s just say the scenes without him feel a bit calmer. As bearded, riding boot-wearing and briefly shirtless Dr Astrov, Andrew Richardson feels more grounded but equally doesn’t shy away from the gags when they come.  

If Astrov and Vanya form a double act of sorts, the same is true of Sonja (Madeleine Gray) and Elena (Lily Sacofsky). Often, the women in Chekhov come across as meek and brow-beaten. Not a bit of it here. The two young women drive the plot forward and their friendship, beautifully realised, means they laugh at their situation and the ridiculous world they occupy. In a big cast of big performances, it is Gray’s radiant Sonja that stands out.

No translator is credited but Nunn is named as adapter as well as director. Any credit for the largely accessible and funny text ought to, presumably, go to him. The blame for the odd clunky lazy-sounding anachronism such as “sod off” and “bugger all” should lie with him too though. Chekhov is not Shakespeare but there’s still no excuse for being careless with his words.

If you don’t know Uncle Vanya, this would make a pleasing introduction to one of theatre’s great works. If you’re already a fan, you’ll either buy into this light, breezy version or you won’t. I did and, despite some flaws, had a thoroughly enjoyable evening as a result.

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Written by: Anton Chekhov
Adapted & Directed by: Trevor Nunn
Design by: Simon Daw
Lighting Design by: Johanna Town
Sound Design by: Max Pappenheim
Associate Director: Leah Harris

Uncle Vanya plays at Orange Tree Theatre until 13 April. Further information and bookings can be found here.