Our Uncle Vanya review examines how celebrity casting and a cringey modernisation undercut this uneven Chekhov production at Melbourne Theatre Company. The play, starring Fayssal Bazzi as Astrov, attempts to bridge contemporary language with Chekhov’s 19th-century Russia, but the result feels disjointed and forced.
The Problem with New Translations
Why must every production of Chekhov be retranslated? Joanna Murray-Smith’s version follows Andrew Upton’s 2010 Sydney Theatre Company effort and Simon Stephens’s 2023 National Theatre adaptation. Each aims to make the characters speak like us, but spew-emoji slang clashes with Chekhov’s melancholic elegance. Anthony Burgess noted that translation is about making a whole culture intelligible, not just words. Murray-Smith, known for depicting bored upper-middle-class milieus, should be a natural fit—but shifting time and place introduces traps.
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Visual and Musical Anachronisms
Dann Barber’s set of autumnal poplar trees shedding gold-brown leaves is gorgeous, lit by Paul Jackson. Yet Violent Femmes’ “Add It Up” on the soundtrack signals the cascading anachronisms to come. The production stands in two worlds: one foot in the here-and-now, the other in an elegiac past. That tension can work, but here it creates confusion rather than depth.
| Translation | Year | Notable Cast | Style |
|---|---|---|---|
| Constance Garnett | 1923 | Traditional | Pompous Victorian |
| Andrew Upton (STC) | 2010 | Cate Blanchett | Modern but faithful |
| Simon Stephens (NT) | 2023 | Andrew Scott | Radical solo take |
| Joanna Murray-Smith (MTC) | 2025 | Fayssal Bazzi, Evelyn Krape | Contemporary slang |
Performance Highlights and Weaknesses
The opening scene between Astrov and Nanny (Evelyn Krape) shows intimacy across social classes, but later scenes falter. Celebrity casting often draws crowds, but here it doesn’t elevate the material. Fayssal Bazzi delivers a competent Astrov, but the script’s forced modernisms undercut his emotional range. The audience is left laughing at awkward “spew emoji” moments rather than feeling Chekhov’s tragicomedy.
Bullet List: Key Takeaways
- Celebrity casting alone cannot salvage a shaky translation
- Modern slang in Chekhov risks cliché and cringe
- The set and lighting design are outstanding, but the sound choices jar
- Previous translations (Upton, Stephens) handled modernity more subtly
- This production fails to balance contemporary relevance with Chekhov’s original soul
FAQ
Is the Uncle Vanya review positive or negative?
The review is mixed, praising the set design but criticising the modern translation and celebrity casting as uneven and cringey. It suggests the production does not live up to Chekhov’s standards.
Which celebrities are in this Uncle Vanya production?
The Melbourne Theatre Company production stars Fayssal Bazzi (Astrov) and Evelyn Krape (Nanny), though the article references past celebrity casting like Cate Blanchett and Andrew Scott in other productions.
Why do Chekhov translations keep changing?
Artistic directors believe each new generation needs its own voice, but critics argue that excessive modernisation can erase the cultural context. Burgess’s quote underscores the challenge of making a whole culture intelligible.
In sum, this Uncle Vanya offers a visually stunning but dramatically uneven evening. For Chekhov purists and celebrity watchers alike, the production’s flaws may outweigh its merits. Read our full analysis above and share your thoughts in the comments.
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