Review: UNCLE VANYA at Circa Theatre

Gritty, believable and well acted

Uncle Vanya was written by Chekhov in 1897 and first produced in 1899 by the Moscow Art Theatre under Stanislavski. It is a reworking of his earlier play The Wood Demon, refined into one of his greatest realist tragicomedies.

Relocated from a rural Russian estate to a New Zealand vineyard, this adaptation follows Uncle Vanya, his nephew Sonny, and the rest of the household as they host the return of retired Professor Serebryakov and his young wife, Helena. Their arrival disrupts the fragile rhythms of estate life, stirring unrequited feelings, disillusionment, and questions of wasted potential. As tensions rise, the characters are forced to confront long-held regrets, a yearning for purpose, and the quiet heartbreak of everyday existence.

For this production, Circa One has been transformed with traverse seating, no traditional set, and only the sparsest of furnishings: four Adirondack chairs, a box of vinyl records, and a record player. To one side hung a striking red moon that subtly shifted in colour and intensity as time passed, providing a simple yet effective visual marker of the play's progression.

It was a unique experience sitting on the side of the stage where the action would not normally be viewed from. I particularly enjoyed being able to see the audience opposite and observe their reactions to events unfolding on stage. It added another dimension to the theatrical experience.

I also appreciated how confidently this adaptation embraced its New Zealand setting. The inclusion of mobile phones and contemporary language felt natural rather than forced. Having never seen the original version of the play, I found the modernisation effective and relevant, reflecting many of the same external pressures and distractions that influence our lives today.

Tawhi Thomas delivered a highly convincing performance in the title role. He captured Vanya's emotional fragility, his frustration, and his dependence on alcohol and drugs with remarkable authenticity. Jonny Potts, as Dr Michael Astrov, brought an understated calmness to the role, making his eventual eruption of anger all the more impactful. The performances across the cast felt natural and truthful, and I particularly admired the director's commitment to stillness. In an era when productions can often feel compelled to constantly move, there was a refreshing willingness here to allow moments to breathe. At times, characters remained in the same position for ten or fifteen minutes, mirroring real life. When movement was required, however, it was purposeful and effective. The fight staged in the opening scene of Act Two was especially well executed.

I also thoroughly enjoyed the performances of Andrew Paterson as Sonny and Peter Hambleton as Alex Serebryakov. Hambleton possesses a commanding stage presence, and when he raises his booming voice he instantly draws focus and shifts the mood of the entire room.

Marcus McShane's lighting design was excellent, while Chris Ward's sound design added depth and atmosphere throughout. Both elements worked seamlessly to support the storytelling without ever drawing unnecessary attention to themselves.

At its heart, Uncle Vanya is a relatively simple story. There were moments, particularly in the first act, where I felt some trimming could have improved the pace. However, the second act was much stronger, moving with greater purpose and ultimately delivering a memorable conclusion. I particularly appreciated the ending, which avoids a dramatic flourish in favour of something far more truthful. Rather than ending with a grand resolution, the family simply resumes life after the crisis has passed, much as people often do in reality.

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