It’s a triumph of performance but a hollow victory – Vanya review

In As You Like It, Shakespeare suggests, “One man in his time plays many parts”. Not content with migrating from Fleabag’s Hot Priest to Hamlet, Andrew Scott takes on eight characters in one evening in Chekhov’s Uncle Vanya. It’s a one-man show with a difference.

Co-created by director Sam Yates, adaptor Simon Stephens and Scott himself, it has the aroma of a vanity project, mitigated only by the talents of those involved.

Set in a rehearsal room/office, it relies entirely on Scott’s vocal and physical transformations to distinguish one character from another. This is fine as long as you have a working knowledge of Uncle Vanya, although it offers few fresh insights into the play. If you are not acquainted with the play, Scott is the only reason to see it, in which case Chekhov takes a back seat.

The ease with which the actor shifts from woebegone Ivan to arrogant Alexander and from lovelorn Sonia to the object of her affections, Michael, and so on is admirable. His only props are cigarettes, sunglasses and a bottle of vodka.

Scott is a dextrous and enthralling actor but even he cannot replicate the subtle agony of Chekhov’s characters on his own. It’s a triumph of performance but a hollow victory.

Vanya, Duke of York’s Theatre until October 21 Tickets: 0333 009 5399

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