Sydney Theatre Company’s production of “Uncle Vanya” is a standard Chekov play with a non-standard touch. All the things you can expect from a Chekov play such as the condemnation of the landlords, the mocking of the intelligentsia, the disapproval of industrialisation, and the life of living in the middle of nothing were all echoing around the walls of the theatre in the 2.5 hour production. However, you no longer see the actors dressed in white standard “Chekov costumes” and walking around in certain posts. Gyoryi Szakacs, the costume designer had injected a heavy dose of naturalism into the costumes – they were worn out and sometimes unsophisticated yet they cry the parts out loudly. This twist of costume design fits in nicely with the superb class that delivered one of the most natural performances you saw on stage this year.
John Bell plays the returned “Celebrity Professor” Serebryakov who, as with some modern celebrities just created hell after hell for the rest of the people in the house. He completely upset the balance of time and habits of everyone and took his young second wife Yelena (Cate Blanchett) for granted. Richard Roxburgh plays the title role of Vanya who wasted most of his adult life for a mere return of profit for his hard work and had to endure a mother (Sandy Gore) who completely ignored his contributions but looked up to Serebryakov. The play opened with Jacki Weaver as the Nanny and Hugo Weaving as the battered doctor Astrov. The opening scene immediately delivered to the audience what a cast of top notch actors can do. The restlessness Hugo Weaving displayed was a sharp contrast to the reminiscing calmness that Jacki Weaver was delivering and yet they just melted together into one strong daily conversation. Cate Blanchett as the unsatisfied trophy wife was an obvious misfit to the rural setting. The immaculate locks on her hair and her tailored fit wardrobe distinguished her from the plain looking daughter Sonya (Hayley McElhinney) and paved way for future disruptions to this quiet and extremely boring country household. She became the drop of water that triggered a series of ripple effects for the pool. There were several scenes between Cate and individual cast members that were just a pleasure to watch. Richard Roxbourgh told the sad story of the title role with great precision and his break down scene in the second half was just a showcase of what a great actor can do when he is in a company of other great actors with a great script. Hayley McElhinney was a good choice for Sonya as she did exhibit the helpless plainness Chekov described in the play. However, sometimes her words lack the unbearable lightness of life that one would expect and this was particularly obvious in her closing monologue. Also at times I found the over deployment of head movements during conversation quite distracting.
Andrew Upton’s adaptation had modernised the language to make the material more approachable, although at times it is less poetic as it should be. However, given the setting is in a rural household (and most characters are supposed to be uneducated), this was not a serious problem. The set by Zsolt Khell was smart and made great use of the stage space. It first opens up to display an extensive space but then as the story progresses, it closes in further and further and created a suffocating space for all the characters – which directly reflects the stifling of these people because of the arrival of Serebryakov. However, also because of this sophistication in the set design, the audience needs to be prepared for some longish idle time when the set is changed on stage.
On the whole, “Uncle Vanya” represents a fine night of theatre for those who love classic text and great performances. If you are not a fan of Chekov you will still find the material angry and at times too tooth-aching. However, just having a chance to see a group of great actors working together is pure enjoyment that you will relish for the rest of the night.
