Reflections and Realizations: Reviewing Gaiety Theatre Repertory’s Production of ‘Uncle Vanya’
3 min read
Shimla, June 23 Ritanjali Hastir
Gaiety Theatre Repertory presented a stellar production of Anton Chekhov’s acclaimed play “Uncle Vanya,” directed by Naresh Kumar Mincha. Held at the Old Gothic Hall of the Gaiety Theatre Complex, this landmark production captivated audiences over four consecutive days, featuring two distinguished casts.
The play “Uncle Vanya” depicts the upheaval caused by the visit of an elderly professor and his glamorous, much younger second wife, (Yelena) Heena, to a rural estate that financially supports their urban lifestyle. Vanya, the brother of the professor’s late first wife and the estate’s long-time manager, and, the local doctor, both become infatuated with Helena while lamenting the monotony of their provincial lives.
Sonya, the professor’s daughter from his first marriage, who has tirelessly worked alongside Vanya to maintain the estate, silently suffers from her unreturned love for Doctor. Tensions reach a boiling point when the professor reveals his plan to sell the estate—Vanya and Sonya’s home—to invest the proceeds for a higher income for himself and Heena.
The show managed to achieve a full house on all four days. As the saying goes, “Perfection in imperfection is the key to success,” so it was. Two sets of cast performed the roles Vanya (Ajay & Naresh), Sonya (Palak Sharma & Shruti Rohta), and Heena (Shailja Pal & Tanupriya)on different days and there was a stark contrast in the portrayal of each character.
Coming to set design a proper insight could be felt as a sunrise painting mounted on the wall above the writing desk showed the bright and vibrancy of life as characters had an impression things will get better and at the same time snow clad painting hanging above the fireplace showed a contrast of human relations. Each character struggles to find a balance in the family.
In the end, Vanya’s failed attempt to shoot Professor with a revolver symbolizes his desperation and disillusionment. It also represents the characters’ inability to escape their emotional traps.
The production had shortcomings, such as the character of Meera being left obscurity. It was unclear who she was or if there was any emotional connection between her and Vanya, leading to confusion and a lack of depth in her portrayal.
The mother’s incessant screaming at Vanya throughout her scenes lacked contextual clarity, leaving the reason for her hostility completely unexplained.
During the show staged on June 22, there was a noticeable lack of clarity regarding the relationship between Vanya and the Professor. Despite Sonya referring to the mother as “Nani,” it remained difficult to ascertain whether the setting was in a paternal or maternal home.
Comparing the cast, it was evident that some characters were better portrayed by one actor on a particular day, while others shone on different days. The play suffered from a lack of tempo and clarity, an issue that might have stemmed from the adaptation or translation process, making it challenging to pinpoint the exact cause.
The play had it’s moments, such as when Vanya presented roses or when the Doctor and Thakur broke into a song reflecting unrequited love. Professor’s Natural Acting ( Jwahar Kaul) added humor to shooting scene .
The director undoubtedly gave his best, and as it is often said, “A show is not always about keeping the audience in mind but about the hard work put into it.” This dedication was evident throughout the production. However, there is always room for improvement.
