In a year when Melbourne Theatre Company has committed to programming mostly new works by local writers, this production of Uncle Vanya by Russian playwright Anton Chekhov bucks that trend a little bit – with a new adaptation by world-renowned Aussie writer, Joanna Murray-Smith.
Murray-Smith has dedicated much of her career to analysing the frailties and blind spots of middle-class Australians and is perfectly suited to tackle this particular Chekhov adaptation – freely adding in the occasional f-word and making concrete the comedy in a play that focuses a lot on boredom.
A play about boredom? Is it a bore?
Chekhov’s work has lived in a complicated space between comedy and tragedy and each production has to give his text a tweak to figure out where it will land each time.
Murray-Smith turns up the comedy, without losing sight of the inherent drama, while also giving female characters like Yelena and Sonya more clear interior lives and agency than the original suggests. This version of the play is masterful, crafting a new vision, without compromising what Chekhov was exploring.
Uncle Vanya focuses on the owners and managers of a Russian estate, dissecting the deep-seated feeling they have wasted their lives. Enter Yelena, married to esteemed professor Alexandre Serebryakov, whose first wife used to own the home. Vanya, brother to Alexandre’s first wife and manager of the estate, and local doctor, Astrov, fall for Yelena and try to seduce her in an attempt to add some...
If 2015 was the Australian Ballet’s ‘year of beauty’, then 2016 delves into darker (yet no less ambitious) territory, with classic and contemporary works depicting turbulent romances, supernatural forces and a tortured genius. “Ballet has the ability to transform,” says McAllister. “This is a richly dynamic and diverse season which I am proud to present.”
An anticipated highlight of the season will be the Australian premiere of Nijinsky (Sep 7-17) an emotional tribute to the Ballets Russes prodigy, lauded as one of the greatest dancers and choreographers of the 20th century. Created by master choreographer John Neumeier and first performed by the Hamburg Ballet in 2000, Nijinsky tells the story of the dancer’s meteoric rise to fame, the controversy around his sensual choreography, and his battle with mental illness that eventually saw him pass away in a mental institution in 1950.
Following the huge success and critical acclaim of 2015’s 20:21, contemporary ballet will again come to the fore with Vitesse (Mar 11-21), which will featuring new works by three world-famous choreographers: Christopher Wheeldon, Jiří Kylián and William Forsythe.
On the other end of the spectrum are lavish productions of ballet classics. Stephen Baynes’ traditional staging of Tchaikovsky’s Swan Lake (Jun 7-18), created by the resident choreographer for the Australian Ballet’s 50th anniversary in 2012, will return for an encore run, complete with Edwardian set design by the masterful Hugh Coleman.
The talented Stanton Welch, who is both a resident choreographer with the Australian Ballet and artistic director of Houston Ballet, will bring his much-loved production of Romeo and Juliet (Jun 30-Jul 9) exclusively to Melbourne. Rounding out the season will be the family favourite fairytale Coppélia (Sep 23-Oct 1).
