‘Why adapt Chekov into Scots?’ demanded an audience member at the interval of John Byrne’s ‘Uncle Varick’, his attempt to provide a Scottish take on ‘Uncle Vanya’.
Jessica Brettle’s design and Big House Events set suggested something between a dacha and a shooting lodge, but it quickly became clear that we were in a Scotland rooted more firmly than merely in Byrne’s imagination.
The script and characterisations weave their own way around Chekov’s canny construction, suggesting similarities and points of imaginative departure at various points.
One of these, but only the most obvious one, is the language, whether the maid Kirsty Morag (Maureen Carr)‘s Caithness, the educated tones of Michael the doctor (George Anton), or the blunt expressiveness of Varick (Jimmy Chisholm) himself.
The why of Byrne’s language use becomes very clear as Sandy (John Stahl) reveals his plan to sell the family property, precipitating the mousy Shona (Ashley Smith) into rebellion.
In ‘Uncle Vanya’ Chekov urged the Russian petit bourgeoisie, as much at the mercy of aristocratic Russia as the peasantry they despise, to take a hard look at themselves.
Byrne is equally purposeful here. Sandy’s metropolitan tones are as false as his supposedly urbane art criticism, while those of his country cousins are as authentic as their emotions.
‘Uncle Varick’, then, is perhaps best described at this juncture as a pro-Independence play, although not nationalist or indeed Nationalist. The remark recorded at the opening of this review suggests that what Byrne sets out to achieve in ‘Uncle Varick’ may have escaped some audience members, but his interpretation remains both valid and highly relevant to our times.
This production is both solid and imaginative, providing an excellent cast with a script to really work with and their ensemble acting is never less than highly watchable. Touring until 6th June, ‘Uncle Varick’ offers a very stimulating evening in the theatre.
Runs til 10 May, 2014