Uncle Vanya at The Harold Pinter Theatre

There is much discussion as to whether or not Anton Chekhov’s full-length plays are comedies or tragedies.  A new adaptation of Uncle Vanya by the brilliant Conor McPherson, currently playing at The Harold Pinter Theatre, leaves us in no doubt that this particular play can be downright hilarious. Having Toby Jones and his exquisite timing in the title role helps.  Plus the fact that Ian Rickson directs. This version of the play about foolish characters living in their own little worlds, to the exclusion of all others, is laugh out loud funny, even if the laughter it elicits is often poignant and deeply felt.  McPherson is so adept at stripping back without taking away and this Uncle Vanya is much more accessible than most. Despite the Irishman’s use of contemporary language, Chekhov’s poetry still shines through and the odd swear word and use of slang never grates.

The scene is set right from the start thanks to Rae Smith’s perfectly realised plant encroaching drawing room on a crumbling country estate.  The estate has been satisfactorily run by Vanya and his niece Sonya (the excellent Aimee Lou Wood) but the arrival of her father, Professor Serebryakov (Ciaran Hinds) and his beautiful, but restless, new wife, Yelena (Rosalind Eleazar), has upset the apple cart. Vanya resents the professor, who was married to his late sister, and is totally smitten by Yelena.  He’s not the only one.  Regular visitor, Doctor Astrov (Richard Armitage) has also fallen under her spell, which is particularly upsetting for poor Sonya who is madly in love with him herself.  Unfortunately for her, he has no such feelings and there is a heart-breaking moment when he avoids the kiss she tries to deliver.  Thus the scene is set for trials and tribulations, exacerbated when Serebryakov announces his intention to sell the estate.

Although the laughter abounds, it’s not at the expense of the various characters’ emotions.  Yelena’s discontent and realisation that her marriage to a much older man was a tremendous mistake is keenly felt, thanks to Rosalind Eleazar’s subtle performance.  The scene where Serebryakov stops her piano playing is especially well handled.  Richard Armitage’s Astrov is suitably self- obsessed, whilst Ciaran Hinds’s ability to portray pomposity is put to full use.  Peter Wight, too, who never delivers a mediocre performance is the perfect old retainer Telegin as is Anna Calder-Marshall as Nana. 

But, it’s Toby Jones and Aimee Lou Wood who shine brightest.  I have to admit, that, apart from the fact that Conor McPherson has done the adaptation, it was the casting of Jones in the title role that prompted me to buy tickets back in September.  His lightness of touch and comedic skills make for a totally believable Vanya.  Everything that happens to this man suffering an existential crisis is perfectly feasible in his capable hands and he is irritating, pathetic and lovable in equal measure. It’s all done without a bucket load of sentiment, but you totally feel his longing and capability for deep emotions.   Likewise, Aimee Lou Wood is so good at portraying a lovelorn young girl and it’s all credit to her that her speech at the end of the play is touching rather than sentimentality over the top. 

As you may have gathered, this Uncle Vanya surpasses any others I have seen.  If you’re a lover of Chekhov, and even if you’re not, it’s a great night at the theatre.