For a play originally written in 1897, director Aaron Gillet does a fantastic job of making his production of Uncle Vanya feel refreshingly modern, with an updated setting. Themes which otherwise could have languished on the sidelines of melodrama are instead explored to their fullest, with Gillet cleverly shifting the focus to the women in the play by keeping the female characters blocked centre-stage. It was also surprisingly accessible to both the average theatregoer and the typical university student, with the translation being both fluid and modern. I never thought that as a British student in 2024, I would be able to relate so deeply to a story about a family of landed Russian gentry from the 19th century, but I was pleasantly proved wrong, with the story’s themes of isolation, entrapment, and lack of purpose being strangely evocative of my teenage years in lockdown.

“It was also surprisingly accessible to both the average theatregoer and the typical university student”

The constant tension and frustration is tangible throughout, with the ever-present figure of the professor Serebryakov (played wonderfully by Lania Hamilton) having a profound impact on his family, in particular his second wife, Yelena (Olivia Khattar) and daughter Sonya (Gaby Albertelli). This is wonderfully contrasted with the women’s genuine friendship in spite of this, and despite my fears of a dour and melodramatic Russian play, Uncle Vanya had wonderful and deftly-handed moments of humour. The comedic breaks, provided wonderfully by Joe Orrell and Betty Blythe, lightened the mood without breaking it, with both actors still eliciting pathos throughout. Even Orrell’s brief performance of a drinking song is beautiful, and equally comedic given the drunken lurches of Astrov and Vanya.

Olivia Khattar is perfectly scathing and emotive as Yelena. From the moment she stepped onto the stage, characters and audience alike were captivated. Khattar portrays Yelena with both bitterness and an inner sweetness, and throughout, she remains a wholly sympathetic character. Yelena and Sonya’s friendship was heart-wrenchingly realistic, and by far one of my favourite moments within the play.

“Olivia Khattar is perfectly scathing and emotive as Yelena”

Eoin McCaul is similarly outstanding as Astrov. He manages to make the frustrated doctor likeable without shying away from the more intolerable parts of the character. Astrov’s enthusiasm and melancholy are sympathetic, especially his impassioned defence of nature, which feels remarkably relevant.

The only way in which I felt the show slipped was Vanya himself. Jake Leigh is an undoubtedly talented actor, and his tears and desperation in the second half were powerfully real. That being said, Vanya has moments of sardonic bitterness that were played by Leigh as more sassy than frustrated, and really took me out of the play during his quips with Yelena. By the end, however, he had come comfortably into his own, as Vanya sunk into a despair more within Leigh’s remit as an actor.

The set was detailed and believable, and the simultaneously cosy and crumbling design of the comfortable sofas and crowded dressers, pitted against nature, fit the story of a household on edge very well. The lighting, whilst pretty, did stay the same throughout – despite there supposedly being a storm, and parts of the play taking place at different times of day - which did become slightly confusing.

Overall, as someone who went into this with no experience of Russian theatre, and with low expectations, I was proved completely wrong. It’s a great production - Gillett has managed to transition the focus of the play to its female struggle, without letting go of the feelings of depression and frustration so crucial to the men.

‘Uncle Vanya’ is showing at the ADC Theatre from Tuesday 15th to Saturday 19th October, at 7:45pm.