By Adam Rafferty
Like the rest of Russian writer Anton Chekov’s plays, Uncle Vanya has had innumerable English adaptations since it first graced the stage at the turn of the twentieth century. Venerated Aussie playwright Joanna Murray-Smith penned this version for Sydney’s Ensemble Theatre in 2024, leading to it being snapped up by MTC’s CEO and Artistic Director Anne-Louise Sarks to direct here herself.
It’s easy to see why. Murray-Smith’s playful adaptation gives Chekov’s text a contemporary twang that makes it simple to absorb and delivers the emotional intent of the characters in a way that feels vitally relatable to a modern audience, while still sitting in its written era.
Uncle Vanya tells the tale of a Russian family, one branch of which live on a rural estate – a working farm essentially – who are visited by their city kinfolk, whose lifestyle is supported by the income of the estate. The property has long been run by Vanya (Daniel Henshall) on behalf of his late sister, who inherited the estate from their father on his death. There he works with his sister’s daughter, his niece Sonya (Philippa Northeast), keeping things running smoothly, while being watched on by his mother Maryia (Carolyn Bock), elderly Nanny (Evelyn Krape) and old ‘hanger-on’ Telyeghin, aka “Waffles” (Don Bridges) who helps out around the place to earn his keep.
When Sonya’s father Serebryakov (Shaun Micallef) comes to visit, along with his new wife Yelena (Catherine Văn-Davies), Vanya wastes no time belittling his brother-in-law and his cushy unproductive life in the city, while wondering aloud to his good friend Astrov (Fayssal Bazzi) how the decrepit old professor has landed such a young and beautiful new wife. Vanya and Astrov – a doctor – are bored with their rural life and Yelena’s presence revitalises them both. Besotted, Vanya declares his love for Yelena, much to her chagrin and for added impediment, Astrov has equally fallen under her spell. However, this causes further complication as the young Sonya has long harboured unrequited feelings for Astrov, putting a strain Yelena’s relationship with Sonya, a step-mother/step-daughter relationship without too many steps in age between them!
Chekov’s Uncle Vanya has always had a lopsided construction, spending a long time dawdling through its first half establishing characters through long, drawn out conversations, then racing through exposition and resolution post-interval as Serebryakov announces his intentions to sell the estate. Murray Smith’s version of the script does nothing to alleviate this imbalance, but it does feed the audience some delicious interpretations of Chekov’s tragic humour and doesn’t lean too hard on the feelings of ennui the characters live with, which is a welcome way to bring the story to life in this day and age.
Sarks has also grasped this nettle by creating a production that seems to be very aware of itself and its purpose as entertainment, rather than falling into the trap of presenting a classic as a too serious piece of work. The Playhouse stage has been left open without black tabs in place or a backdrop covering the rear wall, allowing the audience to see the entire exposed stage and rigging, as members of the crew wander about paying little heed to the actors and the audience as they go about their work. It almost gives the feeling that we’re watching a band of players putting on this story and is perhaps inspired by all the fourth wall breaking monologues that the characters have – Murray-Smith retaining this classic structural feature of the script.
Dan Barber’s set is likewise exposed. Interior sets are relegated to the back of the stage, with their unfinished rear-sides bared for the audience to see before they’re pushed in place. Various bits of furniture sit around the perimeter for some of the cast to use when they’re not needed, like seeing the theatre company’s rehearsal space and storage area, with vastly more pieces of furniture on stage then the story’s presentation requires. It’s an unusual, but interesting way to set the stage, and it allows for several autumnal trees to take up space, including one particularly impressive sapling that Vanya tries in vain to fell by hand. Barber’s costumes are far from pared back however, looking gloriously lavish, taking the appropriate period look and amplifying it with theatrical puffs, bows, patterns and colour. It’s a treat for the eyes, and it seems to intentionally work in juxtaposition to the set design.
Sarks has assembled a stellar cast who all fit into their roles superbly. From the steady, stalwart hands of Krape and Bridges to the charming interpretations brought by Bazzi, Henshall and Văn-Davies, and the rapier wit and timing of Micallef. But the standout performer of this production is without doubt the rising star that is Philippa Northeast. From hilarious line deliveries to moments of utterly palpable despair and desperation, Northeast’s wit and empathy in her performance is beyond exemplary. Audiences should attend this production just to see her Sonya and revel in how lucky we are to see her now while she is still a (relative) unknown. About to star in the Netflix adaptation of My Brilliant Career, Northeast must surely be bound for Hollywood greatness at any moment soon.
This is a very entertaining version of a theatrical classic, that thanks to all the all the parts pulling together somewhat overcomes the ultimately dreary ending that pretty much all Chekov plays demonstrate. If seeing characters dwell in their tedium and trudge toward the inevitable is the way you like a story to end, then his oeuvre’s for you. But even if you don’t, there’s still some fun to be had along the way in this amusing new reworking.
Image: Pia Johnson
