One
does not usually think of
Uncle Vanya
as an epic tale of the clash of dynasties and grand territorial
ambitions. Indeed, there is just enough similarity to provide a sharp,
bathetic contrast to the HBO TV series
Game Of Thrones in which,
coincidentally, both current Vanyas have appeared: Iain Glen at the
Print Room and now Roger Allam at Chichester. And yet, the estate in
the middle of nowhere is the only realm that Vanya knows, and he will
not cede it without a fierce fight; and Chekhov’s small group of family
and neighbours is as intricately and, in its way, passionately
intertwined as George R.R. Martin’s more fantastical clans and septs.
Allam’s Vanya, like Glen’s, is a compulsive cynic. However, this Sussex
version is less languid than his London counterpart; Michael Frayn’s
version of the text as used here is not as salty as Mike Poulton’s at
the Print Room, but this is a Vanya whose little nips at his fellows’
ankles are always rather more likely to draw a drop of blood. And when
cynicism is no longer a sufficient defence, he first shatters – tearing
the petals off one of the roses he has intended to present to Yelena –
then explodes, literally chasing Timothy West’s Serebryakov around the
table before vainly taking a gun to him.
Elsewhere, though, Jeremy Herrin’s production provides a solid opening
to this year’s Chichester season rather than a compelling one. Dervla
Kirwan is conspicuously under-made-up as Sonya in an attempt to justify
the character’s descriptions of herself as plain, and Kirwan, like her
London counterpart Charlotte Emmerson, is older than the character of
Astrov on whom Sonya nurses a not inappropriately girlish infatuation.
Alexander Hanson’s Astrov is too light for the play and too broad in
portrayal for even a large studio such as the Minerva; both he and Lara
Pulver’s Yelena lack the magnetism to begin to explain why, even in
such a rarefied milieu, other characters vie so ardently for their
affections. The most plausible performances come in the most incidental
roles, from Maggie McCarthy as the family’s old nanny and Anthony
O’Donnell as the impoverished hanger-on Telegin. Famously, at the end
of the play nothing has changed; in this case, though, there does not
even seem to have been all that much of a journey around and back to
square one.
Written for the Financial
Times.