Set in Russia, and focusing on the bourgeoisie, Anton Chekhov’s Uncle Vanya is one of the great plays about the human condition. The tragicomedy, first published in 1897, continues to resonate. Now it has received a delightful makeover to bring the language into the present day by one of Australia’s finest playwrights, Joanna Murray-Smith.
The story hasn’t changed. Murray-Smith’s adaptation has made sure of that, for Chekhov is one of her literary heroes. But contemporising it gives it bite anew. The action takes place on a quiet rural estate around the turn of the 20th century. It is where 47-year-old Uncle Vanya (Daniel Henshall) bemoans the life he has to live. One that started out with such promise and hope has disintegrated.
He sees the household kowtow to his good for nothing brother-in-law, pompous, elderly, retired professor Serebryakov (Shaun Micallef). Serebryakov has a beautiful and much younger second wife, Yelena (Catherine Văn-Davies), who Uncle Vanya is head over heels about. He can’t understand why she remains with a man he holds in so little regard.
Mind you, he isn’t the only one with strong feelings for Yelena. So, too, overworked doctor and Vanya’s handsome friend Astrov (Fayssal Bazzi), who tends to the sick, but also cares deeply about the environment. He appears to accept that there is no hope for him, but believes that the world – read that to mean Russia – will be in far better shape in 200 years.
With the professor paying little heed to his daughter from his first marriage, Sonya (Philippa Northeast), it is left to Vanya to care for her and mentor her. She is totally enamoured with the good doctor, although her feelings for him are not reciprocated. Also in the picture is Vanya’s mother, Maryia (Carolyn Bock), who is disappointed that Vanya hasn’t lived up to his potential.
Living on the estate is an impoverished landowner, Telyeghin (Don Bridges) whose wife left him the day after they were married. And looking after everybody is the tireless nanny (Evelyn Krape), who retains a twinkle in her eye. A funk has descended on the inhabitants of the estate, one that will inevitably see a reckoning between Vanya and the professor.
The cast does a mighty job bringing the best out of a cracking script. Foremost amongst them is Philippa Northeast. Her breathless delivery as Sonya, when admiring the doctor, and evocative facial expressions in his presence, are priceless. As the doctor, Fayssal Bazzi’s interplay with her is a highlight of Uncle Vanya. In fact, for all his strong homilies, his lack of self-awareness makes for delicious viewing.
Daniel Henshall immerses himself in brooding discontent and resentment as a duck takes to water. Catherine Văn-Davies deftly straddles the inherent frustrations and yearnings that encompass her role as Yelena. Shaun Micallef has so much fun lauding it all over everyone, as the ever-needy professor. Don Bridges presents as a world-weary figure, accepting of his lot as Telyeghin. As the nanny, Evelyn Krape has a cheeky and cheery disposition, and a spring in her step. Carolyn Bock brings a no-nonsense persona to Maryia.
Set and costume designer Paul Jackson has excelled in his choices. Firstly, he has opened up the wide expanse of the Playhouse, showing the wings, where the crew stand in readiness, alongside the actors. A major set change, where the action moves from outside to inside, takes place as part of Act I, with MTC staff literally moving the furniture in front of the audience. Initially, nine trees (representing poplars), resplendent with autumnal leaves, form a striking backdrop to the story.
The costuming combines the utilitarian with the ostentatious (the professor) and the elegant (Maryia). Paul Jackson’s lighting design and the sound design by co-composers Grace Ferguson and Joe Paradise Lui add strength to the feelings on display throughout Uncle Vanya. Director Anne-Louise Sarks generates energy and spark with this new interpretation of a classic play, which was first produced by Ensemble Theatre in Sydney in 2024. Joanna Murray-Smith has done the work proud. Her desire was to honour Chekhov by making the play sing for a modern audience, unrestricted by archaic language, and she has done just that.
Two hours 20 minutes, including interval, Uncle Vanya is on at Playhouse, Arts Centre Melbourne until 22nd August, 2026.
Alex First
Other reviews you might enjoy:
- Uncle Vanya (Ensemble Theatre) – theatre review
- The Orchard (Malthouse Theatre) – theatre review
- Fury (Red Stitch) – theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
