This Autumn, ANDREW SCOTT features in SIMON STEPHENS’ adaptation of Anton Chekhov’s masterpiece.
Directed by Sam Yates and designed by Rosanna Vize, VANYA opens at the Duke of York’s Theatre on 15 September running until 21 October.
__Assisted performances:__
Tuesday 3rd October – 7.00pm – BSL Interpreted
Thursday 5th October – 7.00pm – AD Performance
It is precisely because Scott is so exceptional that we want more than the actorly somersaults he performs. By its nature this playful dramatic experiment cannot allow him to penetrate any one part deeply or devastatingly enough for the tragedy to be truly felt by the end. As a concept, the production bears all the thoughtful postmodern experimentalism of the Wooster Group but because its tone leans towards the mischievous and picaresque, it ends up looking like the Reduced Chekhov Company, certainly in the earlier scenes.
It’s not a joy to watch, though. Scott has umpteen strengths, but being the man of a thousand voices is not one of them. He is, purposely, trading in fine distinctions. Sonia sometimes grasps a red tea towel, Maureen the housekeeper puffs on herbal cigarettes, but mostly we have to keep our eyes peeled and our ears unwaxed. Dishing out diffidence, defiance and despair, everyone comes up subtly different hues of Andrew Scott. You know what’s going on, but you might find yourself hard at work to stay clued in, like a party guest trying to remember everyone’s names.
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