tag:blogger.com,1999:blog-7200658218238769688.post4446254490501043932..comments2024-01-20T16:46:43.636+11:00Comments on Kevin Jackson's Theatre Diary: Uncle VanyaGeorge Khuthttp://www.blogger.com/profile/10220918958933755405noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-7200658218238769688.post-61825994176892033632011-03-15T23:43:50.123+11:002011-03-15T23:43:50.123+11:00Thanks Kevin for fulfilling G.B. Shaw's first ...Thanks Kevin for fulfilling G.B. Shaw's first requirement of a theatre review: to evoke what it was like to be there on the night. Your review also makes me deeply regret not making the effort to fly in just for this Vanya. <br />Two comments worth adding to Kevin's erudite sharing: first, the subtitle to Dadya Vanya (should be translated as 'Uncle Jack') Scenes From County Life, is very deliberately an acknowledgment of Turgenev's major influence on this play; second, the structure of Vanya, (as Kevin says, rewritten from Wood Demon) is Chekhov's brilliant offering to the modern theatre. Seagull’s flawed structure is re-thought; and, brilliantly, the climax is brought to Act Three, rather than the end of the play. With that move (a new structure he then retained for Three Sisters and Cherry Orchard) Chekhov acknowledged that after a disaster life goes on, and the audience is very interested in how life goes on, what happened to them all. If one considers the Fourth Act of a Chekhov masterpiece as post disaster, post holocaust, post damage, one is actually looking at the contemporary play. Modern plays don't need the exposition act, the development act, and nor do they need the climax (damage) act: they are focused (as are we all) on the post damage, in the post-damage act. The 20th Century, with its series of major conflicts, was almost all post trauma, post damage - and signs are that the 21st will surpass it in horrors. Waiting for Godot is of course the most brilliant example of a post-damage play; and I am of the opinion that we would not have that play - nor absurdism, for that matter - without Chekhov. Vanya should be known as the play that brought a brilliant new structure onto our stages, and pointed the way for future writing. One can see most short modern plays as parallels of an Act IV in Chekhov's last three masterpieces.<br /> <br />Thanks Kevin.<br /> <br />Aubrey Mellor, Dean of Performing Arts, Lasalle, SingaporeAubrey Mellor OAMhttp://www.lasalle.edu.sgnoreply@blogger.comtag:blogger.com,1999:blog-7200658218238769688.post-44315550439635106552011-01-25T19:15:18.470+11:002011-01-25T19:15:18.470+11:00A very thoughtful, perhaps slightly pedantic, revi...A very thoughtful, perhaps slightly pedantic, review, but so much loving care in evaluating production. For the first time I thought seriously about the importance of setting a play in particular period. Before, I'd always thought it didn't much matter, the 'truth' would out in good deep acting, but the historical context in Chekhov IS important-- Kevin Jackson is right in stressing. Doesn't mean you can't change the time but if you do, I now see the need for a lot of homework about the 'when'. If the setting is l950s Stalin era, for instance, the director and actors would need to steep themselves in the period. It ought not to be a fanfare of Stalinist stuff, just the director and actors KNOWING where/when they're at. I can imagine it being so much richer then.<br /><br />Will be interested to read James Waites' review.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-7200658218238769688.post-12372620471585328572011-01-10T21:57:56.284+11:002011-01-10T21:57:56.284+11:00Bravo KJ. I agree with almost every word. Particul...Bravo KJ. I agree with almost every word. Particularly about the setting – time and place etc. Not only was the year confusing (with the consequent issues of the state of a post-revolutionary Russian) but the accents were a tad mysterious. Waffles’ transistor radio looked 1960’s to me. Suspension of disbelief can only be held for so long. Of course all the performances were very good, but was there really a sense of ensemble or family or a common goal? What was offered was a series of precisely tuned star turns. I won’t say any more – too difficult and dangerous. Will leave that to you!<br /> <br />What is equally important is a discussion of the impact of yet another STC imported creative team. What real benefits trickle down to audiences, casts and crews? With all due respect to the Hungarian team (director, designers and their assistants) what is the residual benefit from their visit? What did it cost? Who footed the bills? Could similar amounts (or less) have been spent on other company activities with local creatives? Does the Board or staff or funding bodies discuss such matters? While Tamas Ascher did apparently visit NIDA and speak with students what else can one take away from his time in Sydney? There must come a time when the visits of Philip Seymour Hoffman, Stephen Soderburg, The Steppenwolf Company, William Hurt and Todd Van Voris – and whoever else is scheduled to work for the STC in 2011 and beyond (eg Luc Bondy) – can be assessed. When we the people might be given an opportunity to comment on such developments. <br /> <br />Formal or informal, indoors or outdoors, half a day or a full day I think the STC Management should consider hosting a forum or some such event for subscribers, the media or other workers in the game. Might be good PR. As I’m sure you are aware the increasing internationalising of the STC is increasingly worrying a growing number of theatre workers in Sydney and elsewhere.<br /> <br />Thanks again. Your reviews add greatly to the analysis of the efforts of lunatics everywhere.<br /> <br />TLJAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-7200658218238769688.post-18381904592606129242011-01-08T20:32:57.781+11:002011-01-08T20:32:57.781+11:00Hi Kevin. Thanks for this piece. I always enjoy th...Hi Kevin. Thanks for this piece. I always enjoy the detail of your responses. It's provoked some great thought and discussion amongst my friends and I. Thank goodness theatre blogs.Chris Tnoreply@blogger.comtag:blogger.com,1999:blog-7200658218238769688.post-39858063268425607482011-01-02T21:01:16.177+11:002011-01-02T21:01:16.177+11:00Fascinating response, Kevin. A very complex produc...Fascinating response, Kevin. A very complex production, in terms of its strengths and weaknesses. Daunting for the reviewer - no simple thumbs up or thumbs down will do. I am going to have a go myself when get the chance - still a backlog. Meanwhile, thanks for bringing all you know about Chekhov - reading and productions you've seen - to this detailed and carefully considered evaluation. Some very different questions came to my mind while I was watching this Vanya; so you encourage to get with it and try and find the words to fit.James Waiteshttp://www.jameswaites.comnoreply@blogger.com