This gorgeously staged production of Ivan Turgenev’s play, adapted by Brian Friel, speaks a lot about love and how it can be misplaced.
Before I delve deep into this review of A Month in the Country, it should be said how much I love just how creatively productions that take place at the Donmar Warehouse are in the use of space. The intimacy and adaptivity should be applauded.
Once again this is reflected in the way in which Leslie Travers has designed the set and costumes for this production with such flair and naturalness that reflects the delicacy of the characters emotions that Lyndsey Turner’s production draws out beautifully.
Offering a portrayal of how humans have an infinite capacity to destroy their own lives, A Month in The Country by Ivan Turgenev is a very subtle piece of theatre in which not much happens but leaves plenty open to interpretation and insight into our own lives.
The story centres on that of Natalya Petrovna (Sophie Okonedo) whose life is upheaved by the arrival of young tutor Aleksey Belyayev (Patrick Gibson) who gets increasingly close to her ward Vera (Rachelle Diedericks)and despite the attentions of her husband Arkady (Thomas Arnold) and friend Michel (Alistair Petrie) falls for him. What follows is a painful exploration of love and how it can impact on life in many shapes and forms.
It is a very subtle drama in which not much realistically happens, so requires a strong cast in order to pull the nuances of the story to strong effect – which thankfully is on full display here. In every scene it is clear that director Lyndsey Turner has pulled out the best of the cast, while Brian Friel’s adaptation ensures that the audience fully comprehends each character’s decisions and perspective to the full.
There is such a delicacy and rawness to how the each character is portrayed and the aspect of their story is highlighted it is hard not to be engrossed as to how it unfolds. Each moment is highlighted even further by the warmth and almost romantic lighting designed by Tim Lutkin that enhances the fact that it is the characters experiences and feelings that shape the play rather than any powerful dramatic moment. It s a real emotional journey for everyone involved.
At the centre of it all, Sophie Okonedo as Natalya has many different layers – the frustration of where she is in life trying to put more excitement into it by falling for Aleksey but her increasing resentment and jealousy as she sees him getting close to Vera is painful to witness leading to powerful tension. Everywhere you turn you see an analysis of the power and pain of love: Thomas Arnold as Natalya’s husband Arkady is heart wrenching when he realises he perhaps isn’t giving her the attention she needs, Alistair Petrie as Michel suddenly realising passion is not enough to captivate – there is a deep increasing sadness to his performance and Rachelle DIedericks as Vera realising that love is not as straight forward as it seems is wonderfully realised in her performance.She offers the character real self-awareness that is captivating.
Elsewhere, there is joy to be found in Jonathan Livingstone’s portrayal as Matvey and Jessica Brindle’s Katya , both bringing gentle comedy as they spar with each other effectively.
There is pain and laughter to be found in A Month in the Country that leaves with a very bittersweet feeling as each character moves forward in their own life. It is a beautifully put together production that is gentle to watch unfold.
A Month in the Country continues to play at the Donmar Warehouse until the 3rd October.
Rating: ❤️❤️❤️❤️