Library Journal
So, what happens in Uncle Vanya? Not much; just life, played out over four acts. There are rich people, and there are people who work for the rich people, whom the rich people don't really care about. There is a gun fired in anger and desperation, but there aren't any bodies to carry off stage. There are men making fools of themselves over women. There are those who accept their fates and wait for their rewards in heaven, and there are others who don't care one way or another. There is a character whose name is in lights as the title, but he doesn't add up to all that much. Chekhov's play moves so languidly that, without a vibrant cast, an understanding director, and a lively translation, it stands the chance of passing under the radar of the average audience. Columbus's reworking of the script (done for Chicago's Steppenwolf Theatre Company) aims at accessibility, replacing the "outdated colloquialisms" and "brittle prose" of earlier translations. And, for the most part, it's OK. It's not revelatory or revolutionary, but it stands as good a chance as any of getting the audience to come back after intermission. Recommended for collections in need of a new copy of this work. Larry Schwartz, Minnesota State Univ. Lib., Moorhead Copyright 2002 Cahners Business Information.
From the Publisher
...a vital and vibrant production that remains highly respectful of its source material... Chekhov would cheer.” —Evening Standard
“Now The Seagull has been Anglicised and pulled into the 21st century by award-laden wunderkind Anya Reiss” —The Independent
Broadway World
"Nobody quite walks the tightrope between comedy and tragedy with the aplomb of Chekhov… in McPherson's version, more than any others I've seen, the women get to deliver the emotional gut-punches that balance the humour."
Guardian
"[Conor McPherson's adaptation is] perfectly weighted... does not radically reinvent or revolutionise Chekov's 19th-century story. It returns us to the great, mournful spirit of Chekhov's tale about unrequited love, ageing and disappointment in middle-age, while giving it a sleeker, modern beat. McPherson's script has a stripped, vivid simplicity which quickens the pace of the drama... Every character is fully realised, including the ancillary roles that bring more than comic relief... a perfect tragicomedy."
Evening Standard
"A Vanya for our times."
WhatsOnStage
"As accessible as a TV drama, without ever betraying the great, melancholy, insightful soul that has made the play last for as long as it has. It is radical and revelatory without ever being gimmicky or insensitive… McPherson pulls off a feat of magical reinvention, and allows us to see the play anew."
New Yorker
"Pevear and Volokhonsky are at once scrupulous translators and vivid stylists of English."
The Times
"McPherson's new adaptation feels almost impossibly contemporary in the way it packs in so much lust, wit, rage and regret."
The Arts Desk
"Succeeds resoundingly in making the turn-of-the-20th-century cares of the original resonate today… the contemporary relevance is startling."
New Yorker
"Pevear and Volokhonsky are at once scrupulous translators and vivid stylists of English."
