It may be overly ambitious to expect a production to convey a coherent narrative of a classic play with just one actor portraying nine characters, especially when the running time has been significantly reduced. To truly appreciate Andrew Scott in “Vanya,” which premiered Tuesday at the Lucille Lortel Theatre following a successful run in London, familiarity with Chekhov is essential.
Simon Stephens’ adaptation of “Uncle Vanya” resembles a condensed version, akin to Cliffs Notes, with key pages missing—most notably those featuring the titular character.
The first act of “Vanya” centers on a love triangle involving heiress Sofia, who longs for the doctor Mikhail, while he is infatuated with Alexandr’s young wife, Helena. (In this adaptation, Stephens opts for more British names and reimagines Alexandr as a renowned film director rather than a retired university professor.) Meanwhile, Ivan’s character is largely defined by his sunglasses.
The second act shifts focus to Alexandr’s attempts to sell the estate from under Ivan, who, after removing his sunglasses, undergoes an emotional crisis that culminates in an attempt on his former brother-in-law’s life. As expected, Andrew Scott delivers a compelling performance as the arrogant Alexandr. In the Netflix series “Ripley,” Scott showcases a captivating brand of negative charisma, which is vividly present in this role. He also delivers a daringly debauched and unexpectedly sympathetic portrayal of the lovesick Mikhail. However, his depiction of Ivan comes across as merely louche, largely attributed to the sunglasses. When Ivan erupts late in the play, Scott’s performance becomes hyper-theatrical, but this emotional outburst seems to lack a solid buildup.
Scott clearly enjoys the challenge of quickly switching between characters. A particularly engaging moment occurs during a tête-à-tête where Helena affectionately interacts with a tense Alexandr. Additionally, when Helena “interrogates” Mikhail about his feelings for Sofia, Scott manages to execute what might be the most provocative shirtless love scene ever performed by a single actor.
Director Sam Yates contributes to the clarity of character transitions by assigning Ivan a pair of sunglasses, Sofia a red washcloth, and Helena a swing. However, the inclusion of a small red recorder that Scott carries, which intermittently plays vintage pop songs and canned sitcom laughter, muddles the direction. Unfortunately, Yates’ guidance does not significantly enhance Scott’s portrayals of female characters; it seems as if he studied how to perform these roles by watching Cliff Forman’s rendition of Emory in the film “The Boys in the Band.”
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