Video: Crow's Theatre Presents UNCLE VANYA By Anton Chekhov
This Crow’s Theatre commission and adaptation by Liisa Repo-Martell breathed new life into Chekhov’s masterpiece when it was first performed in the fall of 2022.
David Mirvish is pleased to present the critically acclaimed, spellbinding new adaptation and production from Crow’s Theatre of Uncle Vanya by Anton Chekhov, adapted by Liisa Repo-Martell and directed by Chris Abraham.
In the waning days of Czarist Russia, Ivan “Vanya” Voinitsky, and his niece, Sonya, toil ceaselessly to run their family estate, the profits from which support the extended family, including Sonya’s father, a celebrated professor. When he returns to the estate with his young, glamourous wife and announces his plan to sell the land and evict Vanya and Sonia, passions explode and lives come undone.
Considered one of the greatest plays in the world theatre canon, Uncle Vanya (written and premiered in 1897) was the third play Chekhov wrote and solidified his style and themes. Although all are set in Czarist Russia, Chekhov’s plays are universal because they deal with familial relationships (not just the emotional dynamics but often the financial concerns), love (usually unrequited), regret and loss. Mixing drama and romance, tragedy and comedy, social commentary and very personal concerns, his plays are widely influential, and have become a major genre of storytelling known as Chekhovian.
Brimming with emotional intensity, comedic genius, and tragic weight, this Crow’s Theatre commission and adaptation by Liisa Repo-Martell breathed new life into Chekhov’s masterpiece when it was first performed in the fall of 2022, garnering critical praise and becoming a box office hit.
The original cast, led by the incomparable Tom Rooney as Vanya, returns for this remount: Carolyn Fe, dtaborah Johnson, Ali Kazmi, Eric Peterson, Anand Rajaram, Shannon Taylor and Bahia Watson.
Set design by Julie Fox and Josh Quinlan, costume design by Ming Wong, lighting design by Kimberly Purtell and sound design by Thomas Ryder Payne.
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