Sheffield Theatres and Theatr Clwyd resurrect a Checkov classsic in a Peter Gill adaptation at the Crucible’s Studio Theatre. Beautifully dressed and magnificently lit, this rejuvenated rewrite exploits moments of character distress and anguish to good effect.
Above the audience, a stunning leafy canopy streams golden autumn sunlight through its branches onto the central stage; a magnificent structure transporting us to rural Russia, also representing the ever-present controlling claw with which puppeteer Serebryakov dictates his deceased wife’s family. Martin Turner is appropriately cold, distant and despicable in this role, particularly during another superbly lit scene achieving the “smell of death” Checkov wished for. Turner’s awkward physical exchanges with his ill-fitting jigsaw piece Elena (Shabaka Rafaat) stirs the audience’s search for a more appropriate suitor.
Oliver Dimsdale (Astrov) expresses noble ecological passion to reveal his character’s attractive qualities, whilst Jamie Ballard’s dishevelled state, erratic noises and playful immaturity suggest Uncle Vanya will inevitably get nothing for second place in the race for love. Ballard goes on to blossom in the family meeting scene. Initially checking his pocket watch as a modern adolescent would do their phone, in the presence of Serebryakov he sits cautiously still, a weak picture of obedience from a character so clearly filled with interruption. This stillness is progressively broken through stages of disbelief into a self-destructive collision between grief and injustice, reaching an alarming climax of distress bordering madness in the production’s strongest scene. Similarly, Rosie Sheehy completes this unloved duo with frustration and escalating heartache; her desperate yearn to be held by an admirer becomes increasingly painful. Prior to this, Sheehy’s glances to and from Elena’s radiant beauty are carefully underplayed – a jealousy hidden by politeness giving the audience insight into her character’s daily angst.
A modern twist on Checkov’s work, Uncle Vanya has to be seen by theatre enthusiasts to judge Peter Gill’s success. The cast capture the “worn out” state of the characters and the fiercely delivered emotional torment of central characters is a notable success.
Until 4th Nov, 7.45pm
Sheffield Crucible Studio
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