Review: Anton Chekhov’s Uncle Vanya, in a new version by Anya Reiss, at the St James theatre

Uncle Vanya St James theatre posterAnton Chekhov’s Uncle Vanya is a pretty ordinary tragedy. Wasted lives by default and undue care, squandered opportunities, realisations coming too late. It’s as ordinary as it is immense. Could anything have changed? Can it still? Does it matter? Is it best to lack the willingness or the intellect? These characters are self-aware, but have no energy to do anything about it.

In the new version by Anya Reiss, directed by Russell Bolam, the story is set in modern times and, sad to say, lacks bite. If I included these statements in the same sentence, it’s not because they are intrinsically linked. The modern setting could have worked well, in fact I can see the play reflected all around me. (We ‘d like to think the world is our oyster and we are savvy in making choices and having portfolio lives but truth is, from one rushed day to the next, moments are often lived thoughtlessly).

The production taps into the ridiculousness of the characters but doesn’t allow enough space for their tenderness. Continue reading

Review: Jennifer Haley’s The Nether, presented by Headlong, at the Royal Court Theatre Downstairs

Amanda Hale as Morris and Stanley Townsend as Sims. Photo Johan Persson

Amanda Hale as Morris and Stanley Townsend as Sims. Photo Johan Persson

– Don’t you feel pain?
– Only as much as I want to.
– And how much pain is that?
– That’s rather personal, don’t you think?

Words that are brazen, suspicious, suggestive. Even worse, this is the conversation between an adult and a child. Even worse, this is not quite true.

Jennifer Haley’s play assumes a world where we can go to hide. It’s The Nether and it’s virtual but other than that, each character defines it in a different way. No consequences, no pain, no sense of time, no limitations. These are the lies people tell to each other. The closest the virtual world imitates the physical one, the less escapism it offers. Isn’t that weird?

The play will be discussed as a play about pedophilia, but this is far too obvious an approach. It’s mostly about intimacy, and whether it can be achieved without moral choices and consequences. The characters try to evade reality and then demand it as a token from each other. Continue reading