The Sydney Theatre Company returned to Washington with the exclusive American engagement of Anton Chekhov’s “Uncle Vanya.” The play takes place on a dilapidated Russian estate where a group of people gather, revealing their hopes, disillusionments and — in several cases — deep attractions to one another. Dr. Astrov (Hugo Weaving), a neighboring landowner, visits the farm regularly since he becomes intrigued by the beautiful young Yelena (Cate Blanchett) who has just arrived with her retired professor husband Serebryakov (John Bell).
The estate belongs to Serebryakov’s daughter by an earlier marriage, Sonya (Hayley McElhinney). As the play unfolds, Sonya makes it clear that she is drawn to Astrov, who has no interest in her. Vanya (Richard Roxburgh) feels passion for Yelena, who in turn is interested in Astrov.
| Onstage |
| ‘Uncle Vanya’ |
| Where: Eisenhower Theater, Kennedy Center, 2700 F St. NW |
| When: 7:30 p.m. Tuesdays through Saturdays; 1:30 p.m. Sundays through Aug. 27 |
| Info: Tickets start at $59; 202-467-4600; kennedy-center.org |
As all these potential love affairs swirl about, the elderly nursemaid Marina alone remains steadfast, offering tea, vodka, advice and sympathy. Jacki Weaver plays Marina.
“Marina is certainly the most grounded character in the play,” said Weaver. “I sometimes wonder if she’s the only sane character in the piece. She’s a peasant, unlike the educated people around her.
“She has learned to accept her lot in life. She has comforted Sonya and nurtured Vanya since he was very young. I feel as though I’m playing her as though she’s 107 years old.”
Hungarian director Tamas Ascher leads this “Uncle Vanya.” “He’s wonderful,” said Weaver. “I believe that in Europe he’s regarded as the leading interpreter of Chekhov’s works. To work with him has been an amazing experience. The characters we’ve created are very robust, very earthy and gritty.”
One of the critical factors in this production is its adaptation by Andrew Upton. “Our director wanted a translation that wasn’t full of reverence and stilted poetry,” explained Weaver. “As he says, Chekhov wrote in a very blunt, coarse way. When you want to say ‘dirt,’ don’t say, ‘the earth.’ Say ‘dirt.’
“Also, he hasn’t set the production in period. Sometimes when you see a Chekhov play in gorgeous period costumes, it tends to get a bit bloodless. This production is a little indeterminate. It’s sort of Eastern Europe after the Second World War, the 1950s or 1960s. And it’s obviously a farm that’s no longer grand. The play is about gentry who have faded.”
One of the most significant elements of this production is its comedy. As Weaver points out, the humor in Chekhov productions is often lost, but Ascher was determined to emphasize it. “There are a lot of laughs,” she said. “The ridiculousness of these peoples’ situations is genuinely amusing. There’s a lot of talk about the vagaries and tragedies and angst of life, but it’s always tempered with humor.”
