I think I'm starting to get the vibe of Chekhov plays. It's taking me a while but I'm getting there.
There are a lot of juicy ingredients in "Uncle Vanya", and many of these are as recognisable to contemporary Aussies as they would have been to Russians 127 years ago. And a quick aside, the play's FULL title is/was "Uncle Vanya: Scenes from Country Life" which not only tells you who it's about, but also where it's been set which double as a central theme. That's quite efficient and economical naming. But to the play...
Like many family gatherings, including the Christmas (or Festivus) parties that many of us may have recently experienced, "Uncle Vanya" features the airing of grievances and long harboured regrets, loneliness and isolation, the point of life, contemplations and reflections and assessments of wasted lives and unclear futures. And, as with "The Seagull", quite a bit of unrequited love.
In fact there are already, from my admittedly small sample of two plays, some recurring themes developing amongst Chekhov's works. Like "The Seagull" and quite possible other works that I haven't encountered yet. There is quite a bit of examination of the point of existence and happiness, a healthy dollop of middle class provincial ennui focussed on their personal struggles, in each there is a significant and revered senior outsider male that many respect and others resent for the same reason, hints of suicide. And a gun! Again! And, also like "The Seagull", this is set in a bucolic country setting where the characters are brought together.
But for all the the similarities, this is nonetheless a very different play. So let's have a look at it.
The story
At the country property are a number of regulars, and several visitors. Among the regulars are Ivan, affectionately known as Vanya, who lives on the property with his niece Sonya and his mum ... both also present; the itinerant guest "Waffles" and Vanya's closest friend, Astrov (a Doctor). Joining them are Aleksandr (esteemed former University professor and former husband of Vanya's deceased sister), and Aleksandr's new, young and beautiful (so described in the script) wife Yelena. And a few other characters besides.
There are pre-existing tensions before we meet Vanya and Co. Inheriting his deceased wife's share of the property, the Professor has been living off the income it has provided, earned on backs of the efforts of Vanya and his daughter, Sonya. While Vanya's widowed mum Maria dotes on the professor (her former son in law) and is freely disappointed in Vanya, Vanya has a different appreciation of the Professor, seeing him as over-rated and something of a sponge. Astrov also could care less either way.
I mentioned unrequited loves... both Vanya and Astrov both hold a torch for Yelena despite the fact she is married to the Professor. Sonya meanwhile has strong feelings for Astrov. Sonya, who is described as plain in the script - Chekhov's words not mine - also feels jealous of and inferior to the gorgeous Yelena (it's ok, they become friends).
There are a LOT of conversations in this play, conversations that mostly fit broadly into the category of deep-and-meaningful diads, ruminating on the meaning of life, looking back on what's been and ahead to what's to come.
Vanya reflects industriousness versus idleness - the work he and Sonya have put into keeping the property running versus the idleness of the Professor and others. He reflects on his unrealised ambitions as a writer and desire for Yelena.
Astrov, an early proto-green warrior, considers the environment versus industry, unfulfilled love and disillusionment with provincial life. He also offers a very Harry-Met-Sally-esque observation about how many and women can't be friends.
Sonya struggles with feeling insignificant. Yelena struggles with a growingly meaningless marriage.
"Uncle Vanya" is nothing if not contemplative.
As performed
While most of the plays I've looked at so far have improved from seeing them on stage, this may be the first exception to that rule (for me personally). I think I preferred the written script.
I found a 1991 filmed version, adapted by David Mamet no less. It featured Ian Holms (dam he's good), Mary Elizabeth Mastrantonio and David Warner (the British Actor, and not the former Australian opening bat). Warner, as Vanya, was ok, but didn't stand out for me. The entire cast was fine, and I thought Ian Holm as Astrov was exceptional (maybe one of his best works) as was Rebecca Pidgeon, who I'd not been aware of, as Sonya. Her scenes with Ian Holm were the most engaging and her final speech, which not only concludes the play but also nicely summarises a central stiff-upper-lip resilience theme quite well. And yet this production didn't grab me.
One version I really wanted to see but it is the 2020 version I could only find on Marquee TV. But since I'm fairly well over-committed to theatrical streamers with Digital Theatre, and National Theater at Home, I thought I should probably draw the line somewhere. But it features Toby Jones, Richard Armitage, Roger Allam and Aimee Lou Wood so I'm very keen to see tit.
Speaking of National Theatre at Home, I DID see another very modified version called simply "Vanya". In it, the the super-versatile Andrew Scott playing ALL the roles. Calling it a marathon isn't all that outrageous, as it ran longer than the world record for running a marathon. His ability to retain so much dialog, to deliver it differentiated characters (subtle vocal changes, changes in how he carried and comported himself and the odd prop like a tea towel, a cigarette and sun glasses). Clever dialog, and even a great subtle jibe about how one character had mostly only written adaptations, and quite a spectacle. It really was something to see and I'm glad I did. A singular performance by Scott but I don't think it did a great job of explicating or improving the characterisations and themes shown in other versions.
And there are still other versions. Some of which are:
- "Uncle Vanya" (1970) - a BBC Play of the Month with Anthony Hopkins as Astrov.
- "Country Life" (1994) - an Aussie version set in the outback with Sam Neill and Greta Scacchi.
- "Vanya on 42nd Street" (1994) - another David Mamet version, this time set in America and featuring Wallace Shawn and Julianne Moore.
- "August" (1996) - a version set in Wales with Anthony Hopkins this time playing Vanya.
To be honest (and I feel guilty saying this again after "The Seagull" and how they are revered greats and no doubts the fault is in MY stars etc), the play itself doesn't grab me all that much. Again. I feel that multiple iterations does improve my enjoyment of Chekhov so far as I enjoy it more once I understand it.
I DID really enjoy reading the dialog, lots of clever phrasing and philosophising. And some very early ecological, green messaging. I'm starting to think that Chekhov, who also excelled as a writer in other forms (including short stories) and who was a contemporary of Tolstoy and Dostoyevsky, may be best appreciated through the prism of his words more than his creation of a staged work? Just a thought.
But I did appreciate it, the more I worked at it. It contains powerful speeches, some thematic discussions that are still timely... and the fact that it remains, like Chekhov's other works, so popular and so frequently produced as a measure of it's quality, my personal taste and limitations notwithstanding.
Materials accessed:
- "Uncle Vanya" - script (1896). Many versions online, here's a link to Project Gutenberg.
- "Uncle Vanya" - movie (1991). Movie on Youtube.
- "Vanya" - pro-shot video. Available by subscription on National Theatre at Home.
No comments:
Post a Comment