Review - Uncle Vanya (45 downstairs)
Thursday 31 May 2012
I really struggled with Uncle Vanya. Entering the beautiful venue that is 45 Downstairs, I felt transported back to a time where internet did not exist and no one knew what a mobile was - this cavernous space had been made over with such detail that is was easy to feel a part of the action.
Ten minutes before opening as people are taking their seats, an elderly gentleman appears and begins sweeping the stage. An old lady sits down, prepares a pot of tea and takes up her knitting. This direction was a great idea and really helped to draw you into the story.
Unfortunately, as soon as the play got underway, the charm ended for me and I found myself sucked back into reality - and confusion.
Every character seemed to be acting as though they were each in a different play - there was no consistency of dialect across the cast or even with each cast member. This only had the effect of confusing me because I could not work out where the play was supposed to be set.
I could follow the story easily enough, but the actors seemed to be so dis-jointed from one another that I couldn't find any connections between the characters worth investing in - and soon lost interest.
Some of the actors were over the top, some where subtle and some where almost robot like in their delivery. At one point a character strums a guitar and I wondered whether Rolf Harris was going to appear singing "Click Go The Shears".
I understand the play is about the unhappiness of each character within their own world, but these people are supposed to be living with one another. Surely there has to be an element of familiarisation and connection with each other as opposed to a series of individual monologues.
I remember thinking during the play that this was not the kind of accessible theatre I would bring a fellow Theatre Virgin to watch. I am not even sure it is theatre for anyone for I cannot see how anyone could enjoy watching a cast of actors saying lines to the audience and ignoring the cast around them.
I'm sad to say I left at interval.
Here's hoping my up coming reviews of On the Production of Monsters and The Laramie Project can get me back on the theatre bandwagon.
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