Interview with Jessica Brindle, A Month in the Country at Donmar Warehouse

Ivan Turgenev’s most famous play (which was reworked by Brian Friel), A Month in the Country, is being staged at the Donmar Warehouse this autumn. Directed by Lyndsey Turner, A Month in the Country pits passion against propriety, as a cast of characters struggles to reconcile the lives they lead with the happiness they crave. To find out more about the production, we are joined by Jessica Brindle to find out more.

Jessica Brindle in rehearsals for A Month in the Country.

As an actor, you’re well versed in both modern classics and taking on large comedic roles. How do you think your past experiences have prepared you for Katya?

Katya is such a joy to play! As you have said, I gravitate towards comedic roles; Brian Friel’s adaptation of A Month in the Country allows me to tread that comedic line whilst also keeping her grounded, strong-willed and ballsy. As an actor, you don’t ever stop learning and on every job you pick up something new, even if it’s subconscious. I’m definitely bringing all past experiences forward to aid in playing such a strong-willed Katya. 

What was your process for developing this character? Since Turgenev heavily inspired Chekhov, did you look to Chekhov’s later techniques to help bring this earlier psychological realism to life?

My Chekhov/realism training from drama school absolutely came into it! First and foremost, my process for developing any character starts with the world that the characters live in. Our incredible director Lyndsey Turner helped us to go deep into the anthropology of life in Russia at the time. We explored questions like: What was it like being a woman in this time period? How was society structured? etc. For me I also love looking at other texts from around that time (The Seagull etc). Once I have a handle on the world that the character lives in, I then turn inwards to go deeper into her emotional journey throughout the play. 

Although Katya and her love triangle provide a needed comedic relief, how do you and your scene partners navigate the balance, so it feels grounded and realistic rather than a caricature? 

My main goal is to play the truth of a scene. Brian’s adaptation of A Month in the Country is very funny, and his words speak for themselves. So as actors, our main aim is that we keep it grounded and truthful to the telling of the story.  

What drew you to this adaptation of the play?

It’s been on my bucket list to do a Russian play! Let alone a Brian Friel adaptation, AND it’s directed by Lyndsey Turner…DREAM!

Why should people come to see A Month in the Country at the Donmar Warehouse?

The play is timeless and filled with love and yearning. This cast is exceptionally talented and a dream to act alongside. There’s layers and layers to the story and I just can’t wait for everyone to see it! 

The play itself touches on major themes of suppressed desire and societal roles and expectations surrounding women. How do you think the play translates to a modern audience and why do you think it’s an important piece of theatre for people to watch?

The women in this play are bold and valiant. Turgenev's original play was published in 1855. What’s so exciting is that both the world, and theatre audiences have changed, and so our interpretations of the story will naturally change too, even if the play is word-for-word, exactly the same. A Month in the Country keeps up with our interpretation of the text now here in 2026.

How would you describe the play in three words? 

Witty, yearning and strength.

Is there a scene in the play that you’re most excited or nervous to perform? 

Honestly - I’m excited for all of them. Katya has such a journey throughout the play onstage and in the unwritten scenes off stage also. Every scene brings out something different in her and is a new challenge emotionally. 

What is your personal favourite part of the play?

When the relationships start to heat up! No spoilers. 

How has the rehearsal process evolved from the 2010 version? Is Bryan treating this as a direct copy, or are the actors getting the creative freedom to find something new?

Our brilliant director Lyndsey Turner has directed multiple of Brian Friel’s adaptations. We are in very safe hands and have worked as such a tight knit ensemble, to create the world we are showing in our version of A Month in the Country. I can’t wait for people to see it!

A Month in the Country plays at Donmar Warehouse until 3 October. For further information, head to the theatre’s website.