...it is both refreshing and even radical to go back to Chekhovian basics and produce a more faithful version like this in the West End that demonstrates what a masterpiece the play is without the need for reinvention.
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Ian Rickson’s production is polished to a high shine. The emotional arcs, the richness of the performances, the lucidity of the adaptation, the sumptuous design...
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Ian Rickson’s exemplary production relishes the nuances of Conor McPherson's adaptation.
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There isn’t a huge amount of action here – Chekhov was a bit of a pioneer in the ‘play where nothing happens’ genre – but when it comes to nuanced character studies, Uncle Vanya is an embarrassment of riches
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Sonia Friedman has reunited a Covid-dispersed cast to stage a masterpiece of love, sadness and a very timely air of ennui.
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Jones deftly balances pathos and humour, but he is matched by Eleazar and Wood. This is a Vanya for our times.
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Ciarán Hinds is powerful as a monstrously egotistical Serebryakov, Anna Calder-Marshall, Dearbhla Molloy and Peter Wight all lend heft and significance to characters that often count for nought. All in all, a glory.
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What does Conor McPherson bring to this new adaptation? A different kind of laughter, it turns out: deeper, more poignant and perfectly weighted.
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