I’ve enjoyed all of the Mike Bartlett plays I’ve seen, some fifteen of them, including two other adaptations and three before at this theatre, which itself has form with this very play when it successfully produced it in the West End twenty years ago. So all the more surprising to be be so hugely disappointed.
Gorky wrote it in 1910 and set it between the 1905 & 1917 Russian revolutions, though it wasn’t staged for another 25 years or so, in a new version. Perhaps he was representing the end of empire and a transition to a new world, and maybe Bartlett sees some parallels with our current populist revolutions. Why else would you adapt it?
Vassa is the family matriarch, a bit of a monster. Her husband is dying. She runs the business he’s built. Her children have been disappointments. Her brother-in-law can’t wait to get his hands on his share of the business. She berates, bullies and bruises all around her. The first two acts are played as farce and this whole seventy-five minutes did nothing for me, apart from a few laughs. Even the second act’s shocking ending didn’t touch me.
I would have left at this point, the interval, but I’d already invested 70% of the necessary time, so it seemed worth seeing it through. This act could have been directed by a different person. Dad is dead and everyone is seemingly grieving and the dysfunctional family unravels. A stage strewn with flowers, blame, secrets, lies and arguments about inheritance. It was much more stylised, mannered gestures, offstage actors sitting at the sides not entirely neutral. By now I didn’t really care about anyone or anything and was fantasising about the glass of wine awaiting me at home.
The cast work hard, but at the curtain call they seemed relieved another performance was over; I felt sorry for them. Samantha Bond, originally cast as Vassa, pulled out, which may be good sense rather than illness. It seemed to me to be a pointless revival, a rare dud for the Almeida and the first turkey by its adapter. May it rest in peace.
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