Chekhov’s Uncle Vanya brings a new life in its new version at the Loft Theatre

Uncle Vanya: a claustrophobic and melancholic play in which bottled-up resentment of a Russian family of the 1890s threatens to tear them apart from one another. A play which, if not done correctly, risks the audience having to endure tedious silences and confusing family relationships, not to mention the complex historical context of pre-revolutionary Russia. How, then, do we go about adapting such a play and making it accessible to modern audiences while simultaneously keeping it true to Chekhov – the playwright’s – intent? The answer to this question is provided in David Fletcher’s new version in Leamington’s Loft Theatre, which, available to attend for free for all 16-25s, combines Uncle Vanya’s sombre themes with subtle yet expertly placed comedic timing within Loft’s intimate theatre.

When questioned on the topic by The Boar, however, Fletcher stressed the importance of producing “something true to the spirit of Chekhov”

First produced in 1899 by the Moscow Art Theatre, Anton Chekhov’s Uncle Vanya follows a Russian family living in the country house of an esteemed retired professor, Serebryakov, and his second wife, young Yelena. Throughout the play, the audience are confronted with the family’s various grievances and secret romances: Vanya’s hatred and jealousy towards his brother in law Serebryakov, Yelena’s unhappiness with her husband, and Sonya’s love for unknowing drunkard Astrov. Scenes of chaos and fighting between the characters are followed by ones of an eerie quiet and calm atmosphere, not necessarily of tension but of defeat and sorrow.

Depending on the interpretation, the play varies in its ratio of bleakness to comedy. Recent productions, including Sam Yates’ Vanya currently transferring to off-Broadway, have taken on more modern radical approaches by using screens and digital media. When questioned on the topic by The Boar, however, Fletcher stressed the importance of producing “something true to the spirit of Chekhov” whilst also making it interesting to the actors and audience. In using a 1903 translation modified by Fletcher with help from Russian Language Consultant Ignaty Dyakov-Richmond, the production aims to embrace the original material to ensure modern audiences’ complete clarity and enjoyment. This is a goal it is ultimately triumphant in.

Leonie Slater’s role as Yelena is exceptional in presenting the character as a cold and yet, at times, caring woman trapped in a marriage which doesn’t quite suit her

Members of the cast include David Bennett as Serebryakov, Leonie Slater as Yelena, Rosie Pankhurst as Sonya, and Dave Crossfield as Astrov. The role of the titular character, Vanya, is played by Mark Crossley who, according to members of the Loft Theatre, has a long reputation of talent among its plays, something he undoubtedly lives up to in this role. Working alongside the other actors, Crossley humanises Vanya who, in the script, can seem a deeply selfish and dislikeable figure, and Crossley reveals him as someone who is deeply lonely, hurt, and purposeless, not unlike Sonya. His unlikable moments, however, especially his actions towards Sonya, Nanny (Elaine Freeborn), and Mariya (Wendy Morris), are played to tense perfection. All the actors and actresses make brilliant use of space and travel within the intimate theatre. Leonie Slater’s role as Yelena is exceptional in presenting the character as a cold and yet, at times, caring woman trapped in a marriage which doesn’t quite suit her. Despite this, she has some opportunities for light-hearted and comedic comments which Slater plays very well with the character’s somewhat dry tone.

Fletcher’s Uncle Vanya is a great success

Moments of comedy are elevated especially by Telegin ‘Waffles’ (Mark Roberts) and Astrov. While Telegin is more limited in their lines than some forefront characters, Roberts’ comedic delivery is sure to provoke a laugh in between the forlorn atmosphere induced by other characters. In parts, this is supported by David Crossfield’s Astrov. If interpreted incorrectly, the tree-planting doctor can appear as nothing more than a drunk worn down by his profession. Crossfield’s skill combined with Fletcher’s script revisions, however, allow Astrov to be funny, inspired, caring, and passionate. He is one of the most important in Uncle Vanya’s relevance in the modern context, with his ongoing interest in the climate crisis and tree-planting being rightly emphasised in Fletcher’s version. He is a representation of the play’s historical relevance, being set in a society becoming increasingly aware on human impact on the planet. In putting more weight on this trait of Astrov’s, then, the director simultaneously allows the modern audience to reflect on current climate crisis issues as well as the historical ones being discussed by characters.

Fletcher’s Uncle Vanya is a great success. Each actor is memorable in their role, all having moments of centrality which make it impossible to single out the quality of one performance over another. Fletcher said that “Chekhov can be boring if not done properly”, and with his expert revisions, combined with the actors and crews dedication, it has certainly been done properly. Alongside the success of this production, and Fletcher’s vast amount of previous theatre productions, we can wait in excited anticipation for his next work, confirmed to be Doctor Faustus, for which he teased new and creative uses of lighting and theatrics.

Uncle Vanya will run from October 23 to November 2 2024 at the Loft Theatre in Leamington. 16-25s can purchase tickets for free.