In a cunning piece of programming, the Donmar follows James Graham’s Privacy – the most un-Donmar of productions – with Brian Friel’s Fathers and Sons (adapted from the novel of Ivan Turgenev). If Privacy was brilliant in unexpected ways, Fathers and Sons has the emotional richness and acute lyricism that characterise Donmar productions at their best. Let’s be clear: if the Lyndsey Turner directed production doesn’t rewrite the theatrical book, that’s not a criticism in any way.
The story is set in mid 19th century Russia with two young men, Arkady and Bazarov, returning home for the summer. University has opened their eyes to a whole new world and they buzz with the enormity of it all. Back home, they are faced with rich if neglected estates, middle-class ideas, lives preoccupied with the soil, and harvest, and sex. The purity of their idealism is put to the test as the social landscape changes rapidly and irrevocably. The conflict between young and old has the inevitability of a clock ticking but none of the clichés. Don’t assume you know how interactions will play out: Arkady’s father dots on his new baby born out of wedlock. Bazarov’s father idolises his son.
There is a bittersweet, even droll, breeze blowing in the play. Continue reading