Uncle Vanya

Written by Anton Chekhov

Thurs 24th April - Sat 26th April & Tues 29th April - Sat 3rd May 2003

Directed by Nicola Scadding

Summer is unsettling for a family living in a Russian backwater. There are disturbing guests, heat and alcohol, unaccustomed idleness, family quarrels, sexual proximity, awkward love affairs, bungled seductions, emotions and lives turned topsy-turvy. Summer ends in storm. Will family tensions end in violence?

Chekhov explores the emotional web that lies beneath the surface of ordinary events in all its pain and absurdity, comedy and poignancy. As he said, "People dine, simply dine, and at that moment their happiness is decided or their lives shattered".

AuthorAnton Chekhov

Anton Chekhov (1860 - 1904)

Born in Southern Russia of humble origin, Chekhov studied Medicine at Moscow University, and while there, in order to support his family, he turned to writing. He graduated in 1884 and shortly after leaving turned to drama, although he was to continue to practise medicine for the rest of his life. The production of the Moscow Arts Theatre of his play 'The Seagull' in 1898 was the first to achieve the delicate balance of tragedy and comedy which is Chekhov's most individual contribution to drama. However, his originality also consists in an early use of the stream-of-consciousness technique, combined with a disavowal of the moral finality of traditional story structure. Another revolutionary quality in Chekhov's work was that his plays were written for a team of actors rather than for one or two star principals and supporting cast.

PlayUncle Vanya

Uncle Vanya was first published in 1897 (at a time of great political and social change in Russia) and received its Moscow premiere in 1899 at the Moscow Art Theatre, which was directed by Stanislavski. Essentially an extensive reworking of his own play published a decade earlier, 'The Wood Demon', the action takes place in rural Russia in the 1890's on an estate with a farm.

The plot, such as it is, follows the lives of an extended Russian family for a short time. Alexander Serebryakov the estate owner has recently remarried. He returns to his home with his new young wife; and the daughter and brother-in-law (Uncle Vanya) from his previous marriage. After a short time announces his intention to sell which seems to be a catalyst for some of the underlying resentment and unrest and shots are fired. The ending of the play, however doesn't provide us with a resolution...

The Bench Production

Uncle Vanya poster image

This play was staged at Havant Arts Centre, East Street Havant - Bench Theatre's home since 1977.


Marina, an elderly nurseIngrid Corrigan
Michael Astrov, a doctorDamon Wakelin
Ivan Voynitski (Vanya)David Penrose
Alexander Serebryakov, a retired professorJohn Scadding
Helen (Helena), his wifeFiona Fairhurst
Sonya, his daughter by a previous marriageAlice Corrigan
Ilya Telegin (Waffles) an impoverished landownerJohn Batstone
Mme. Voynitski (Maman) widow of a high official,
mother of Vanya and the professor's first wife
Ruth Prior
A peasantZoë Chapman
A maidVicky Hayter
Entr'acte PianistRuth Prior


Director Nicola Scadding
Producer Mark Wakeman
Stage Manager Zoë Chapman
Assistant Stage Managers Susie Borton
Vicky Hayter
Francine Huin-Wah
Lighting Design Jacquie Penrose
Lighting Operation Richard Le Moignan
Sound Recordist Nathan Chapman
Costumes Megan Utley
Props Zoë Chapman
Jaspar Utley
Stage Management team
Set Design Jacquie Penrose
Set Construction Tim Taylor
Poster Design Pete Woodward
Programme Design Derek Callam
Press and Publicity Sue Dawes
Jaspar Utley
Mark Wakeman
Front of House Sam Emery

Director's Notes

Uncle Vanya is a study of ordinary people who are comically inept at managing their own lives. Like all four of Chekhov's major plays, it deals with the effect that visitors have on a family living in a Russian backwater. Add to this intrusion the summer heat; alcohol; unaccustomed idleness; family quarrels; sexual proximity; awkward love affairs; bungled seductions; emotions and lives turned topsy-turvy and we have the ingredients for - well, farce or tragedy?

George Calderon translated two of Chekhov's plays in 1912 and called them "tragedies with the texture of comedy". In Uncle Vanya Chekhov negotiates a delicate balancing act between the comic and the tragic. The play is sly, ironical, sexy, funny, farcical and also serious, compassionate and painful.

Chekhov believed that the theatre should "show life and men as they are, and not as they would look if you put them on stilts. A play should be written in which people arrive, go away, have dinner, talk about the weather, and play cards. Life must be exactly as it is, and people as they are - not on stilts. Let everything on the stage be just as complicated and at the same time just as simple as in life.... They are all simple, ordinary people".

What he does is to explore the emotional web that links these ordinary people, exposing the pain and absurdity, comedy and poignancy that lie beneath the surface of everyday events. "People dine, simply dine, and at that moment their happiness is decided or their lives shattered." And, just like Monet, he is a first-rate impressionist, using snippets from his characters' lives to build up the narrative and atmosphere of his plays.

In her programme note for the 1973 production of The Seagull at Chichester Festival Theatre Caryl Brahms commented, "Chekhov wrote, on the whole, with irony about the human condition - an irony based on observation and softened by understanding". The playwright, himself, commented, "The artist must not be a judge of his characters or of what they say but only an objective observer ... If you want to become a real writer, study medicine. Especially psychiatry. It has helped me...." He reckoned also that "a writer must be as objective as a chemist ... he must know that dung-heaps play a very respectable part in a landscape..."

Nicola Scadding


The NewsMike Allen

Sad and funny but lacking spark

In an entertaining 'for and against' debate on Chekhov in the Bench Theatre programme, one writer says the characters are ridiculous, which make them funny - and they know it, which makes them sad. The other writer says the people aren't real and Chekhov laughs that off as intentional - 'a puerile little joke.' On the evidence of Nicola Scadding's production, the first writer is nearer the mark - and so he should be, since he is David Penrose, who plays Uncle Vanya himself.

Certainly this man is ridiculous and knows it. Penrose makes him like an older, but not much wiser Hamlet - a man who cannot commit to and action and then, when he does, gets it badly wrong. Sad? Certainly. But very funny, not only there but in the way the actor delivers heavily ironic lines with the lightest ironic touch.

Vanya's niece, Sonya, draws playing of gentle sincerity and dignity from Alice Corrigan, and John Scadding and Bench newcomer Fiona Fairhurst make strong impressions as an oddly married couple. The surprise is a stilted performance from Damon Wakelin. He fails to catch the charm that makes two women fall in love with Astrov, either wholly of just a little. The production lacks sexual electricity as a result. Until May 3.

The News, 26th April 2003

Production Photographs