Uncle Vanya, Minerva Theatre, Chichester, April 2012

For mockery and a self-deprecating sense of humour, Roger Allam’s Vanya is hard to beat.

Roger Allam as Vanya, all images Johan Persson

From his first clumsy entrance onto stage, to his bumbled expostulation, “I could have been a Dostoevsky”, and his failure to shoot the brother-in-law he’s learned to detest, this was a Vanya fated to manage the estate as an also-ran. The brother-in-law, Professor Serebryakov is a clever narcissist, attractive to the ladies, and as portrayed by Timothy West an endearingly frail old fool.

Timothy West as Serebryakov

Both Vanya and Dr. Astrov, very engagingly portrayed here by Alexander Hanson, are enamoured of Serebryakov’s young (second) wife Yelena, played by Lara Pulver, but she lacked allure, and seemed overly neurotic. By contrast, Vanya’s niece, Sonya is supposed to be very plain, and Dervla Kirwan managed to make herself a rather dull fish, without being tiresome like Yelena. Maggie McCarthy and Anthony O’Donnell were a delight as the homely consciences of the house, providing earthy background against which Vanya could lose his head and his heart, and Astrov and Sonya just their hearts. But in this production by Jeremy Herrin, in a colloquial translation by Michael Frayn, the youthful anima of Yelena never gave them a reason to become so besotted.

I liked the sets by Peter McKintosh with the windows at the rear of the stage through which we see the outside world as in a mist, with rain dripping down when the storm comes exactly on cue with Vanya’s prediction. I liked the lighting by Chahine Yavroyan that gave that mistiness to the outer world, and I loved the two musicians setting the scene by playing wind and strings behind the windows.

Sonya and Uncle Vanya

This Chekhov play is a wonderful vehicle for taking an irreverent sweep at those nit-picking academics, in their fake-ivory hovels, who dissect the work of other more creative people. And Vanya’s pamphlet-reading mother, trying to understand the work of second-rate minds, is a harbinger of the later nonsense that was to engulf Russia, less than two decades after the author’s death. Yet the irritating narcissism of Vanya’s mother and the Professor were subdued in this production, and I wonder whether some of her lines were cut. The most irritating presence was the young wife Yelena, but in the end as she and her husband leave, Roger Allam’s Vanya is the focus of our attention in the slow dénouement. Will he blow his brains out, or accept his niece’s emotional support in doing the numbers and seeing that the point of life is life itself, as Dr. Chekhov well knew.

Performances continue until May 5 — for details click here.

Henry IV Parts 1 and 2, Globe Theatre, London, July 2010

With an audience on three sides of the stage, plus the casual openness of the standing area, Roger Allam was well placed to give us a wonderful interpretation of Falstaff. His contact with the audience was inspired, and they loved him, yet there was nothing over the top in his shrewd levity, ever ready to recover from the jibes and rejections of others.

Falstaff with Mistress Quickly and Bardolph, photo by John Haynes

Apart from Falstaff, these plays have no central character given to introspective soliloquies, so it is more the case of one actor playing off another, and many of the cast did this well, performing more than one role. William Gaunt and Christopher Godwin were amusing as the old duo Shallow and Silence in Part 2, while having been far more direct and vigorous as Worcester and Northumberland, and I liked Paul Rider both as Bardolph, and in his vignette as the Archbishop of York. Jade Williams as Doll Tearsheet in Part 2 showed an engaging weakness for Falstaff, throwing up most convincingly on the front corner of the stage and surprising the audience packed around there, a far cry from her refined Lady Mortimer. Barbara Marten played Lady Northumberland, as well as being a suitably indignant tavern hostess as Mistress Quickly, with her husband sitting upstairs smoking a pipe — a nice touch.

Prince Hal with Falstaff, photo by John Haynes

Oliver Cotton played the King as a serious monarch, betrayed by the rebellious vanities of others, but the principal rebel, Harry Hotspur showed a spluttering anger that failed to allow even a half-second pause in the expression of his fury. Sam Crane’s portrayal of this hothead could have used more nuance, and his re-appearance as Pistol in Part 2 had a clownish quality that seemed unsuited to this production. But Jamie Parker as Prince Hal showed nuance aplenty in his fine portrayal of youthful high spirits edged by an understanding of his future as king. Here is an actor — one of the original cast for The History Boys — who can be suitably immature as Prince Hal, yet bring into Part 2 elements of the future Henry V who will inspire and lead his army at the Battle of Agincourt. I look forward to his future portrayal of that role!

Prince Hal replaces the crown, photo by John Haynes

What makes Part 1 work so well is the brilliance of Falstaff and Prince Hal. Of course Hal is not seen much in Part 2, until he takes the crown from his father’s pillow near the end, so there isn’t quite the same energy in the second part, but Roger Allam was gloriously endearing as Falstaff — one could not imagine a better portrayal. These productions by Dominic Dromgoole give a fine understanding of the plays and are a delight to watch. I loved the convincing grubbiness of the costumes for the ordinary folk, as well as of the military vests for the nobles, and the crests hanging round the seating areas add to the authenticity. With the mummers at the beginning, starting outside the auditorium and taking their mime inside, a wonderful sense of occasion is given to these performances, and at £5 for a standing ticket in the pit there is no excuse for missing them. Six hours of Shakespeare with nary a dull moment.

Parts 1 and 2 of Henry IV continue until October 2^nd and October 3^rd respectively — for more details click here.