The culture: ‘Uncle Vanya’, by Anton Chekhov in a new version by Robert Icke, Almeida Theatre
The cheap seats: £10 restricted view side seats (mostly fine but a poor view of the characters whenever they stepped outside of the box to soliloquise)
Even bad Chekhov hits me right in the guts. There’s something about the way he writes and effortlessly captures human experience in all its miserable beauty and beautiful misery that just reduces me to a quivering mess of existential crises every time. But the Almeida’s new Uncle Vanya isn’t bad Chekhov, it’s brilliant Chekhov, and I spent a surreal journey home on the Overground staring into the middle distance, hopeless and hopeful, surrounded by St Patrick’s Day drunks.
Robert Icke’s new version of the play updates it and chops it into pieces. The night is three intervals and over three hours long but doesn’t feel it. It opens on a hazy midsummer day with beautiful rich people languishing in the heat at their country house. They’re a middle-class cliché. I know these people and I dislike these people but I identify with almost every one of them. As the set slowly turns round and round (and round and endlessly round, it’s a metaphor, get it?), I slip into the production, lulled into a false sense of something by the sunny lighting and birdsong, and my personality, my being, is picked apart while I’m not paying attention. I see myself in them all. As the night progresses and the characters reveal their virtues and their flaws I’m confronted by myself at every turn of that really irritating creaking set. It’s claustrophobic and disgusting. It’s fascinating. They start to fall apart and so do I. Or at least we all start to realise that we were never ‘together’ in the first place.
There’s a stunning moment in which Uncle Vanya goes mental with a bunch of autumn roses and I want to be him, thrashing everything in sight out of pure frustration. I want to be Elena, beautiful and admired and lethargic and looking on horrified. I want to be Sonya, cowering in the corner, hiding from the sheer sorrow of it all. I am all of them, even the well-dressed great aunt who barely speaks. Even that chicken with a two minute cameo. Especially the grandmother who knits and drops occasional pearls of obscure wisdom. When the hot doctor’s morphine goes missing and the tension is ramped right up to really-fucking-unbearable I realise my knuckles are white and my nails are digging into my hands. It’s really that good. Those 3 hours could have been 3 days, 3 minutes, or 3 seconds. It’s really that good.