Uncle Vanya, scenes from Country Life at La MaMa Experimental Theatre Club, New York City Review
Written by Eloise for Theatre and Tonic
Disclaimer: Tickets were gifted in return for an honest review. All views are our own
Content warnings: depictions of sexual violence, strong language, blood, gunshots, violence.
This is Uncle Vanya like you’ve never seen before. Theatre pushing outside of the box – and then beyond. This production is innovative and exciting, minimalist in theory but raw and attacking in its analysis of humanity. If you think you know Uncle Vanya, throw that out of the window and be prepared to empathise more with a Hen than with the titular character.
This production, adapted by writer and director, Dmitry Krymov and his company Krymov Lab, takes Chekov’s classic Uncle Vanya and turns it to focus on Yelena, a young newcomer to the community. The play begins with a minimalist set – an abstract country scene painted in black contrasting to the bare white stage. Slowly, a signpost – a literal signpost – slides onto stage explaining that the stage is bare, and we are in the country. It’s Brechtian in its approach and straight away tells the audience we are in for something a little different to ‘classical’ theatre. Though if you’re in La MaMa, known for its experimental theatre and avant-garde approach – you know you’re in for something unique.
Yelena, portrayed by Shelby Flannery, sits at the front of the stage on a wooden chair. The cast of nine others, sit on their own wooden chairs a few feet behind Yelena – and take it in turns to have moments with her. Some scenes of passion, some humorous, some deeply confessional – it is clear that Yelena brings out the truth in others – even if she doesn’t want to hear it.
The performances from the cast were all excellent – every actor having to stay switched on throughout. I was particularly taken by Natalie Battistone’s portrayal of lovesick Sonya, who remained encapsulated by Astrov at every mention of his name – even whilst not in the direct action. The decision to keep all characters on stage created a therapeutic environment which aided Yelena’s confessional – also giving the audience a visual feast and always something to watch.
Alongside this the stagecraft was second to none – and the only way to describe this is the abundance of everything. When Yelena is attacked by flies – there were hundreds of flies. When the chicks’ feathers are plucked – there were hundreds of feathers. The stage becomes covered very quickly, paralleling the unravelling emotional distress of the characters too. This ultimately builds to the shocking, but visually striking ending.
There were some moments where the pace lulled – particularly near the beginning whilst the shape of the play was taking form. However, this felt like a directorial choice to allow the actors to fully find their naturalism, not compromising authenticity for conventional narrative structure or pace. In moments this can feel a little indulgent with actors trying to cry real tears – but generally was fascinating to witness. Isn’t that the point of theatre, to watch someone feel something so real and raw to feel better in ourselves?
What becomes apparent is the sense of the male characters trying to take something from the female characters – mainly by using force. Explicitly with the Rooster constantly trying to impregnate the Hen, with the Hen explaining she is only used for procreation and is often beat by her Rooster partner. Or the clever decision to cast Tim Eliot as Nanny – making the act of tearing apart a chick for chicken soup lean into more typical ‘masculine’ violence. By the end of the play, Yelena is torn apart by the men in her life trying to take something from her and that ends up being her hamartia.
There is so much to unpack with Uncle Vanya, and the possibilities for analysis are endless. Regardless of if you love or hate the original – Uncle Vanya at La MaMa offers something for everyone. La MaMa has quickly become one of my most exciting venues to look out for – and a must visit if you’re in New York City and wanting to experience something a little different to the commercial shows on Broadway.
Uncle Vanya, scenes from country life, is showing at La MaMa from the 28th March – 12th April 2026. There are very limited tickets left, but still, some for the upcoming matinees.
★★★★
