Patrick Marber’s retelling of Ivan Turgenev’s A Month In The Country is witty and elegant, full of gags and Russian angst
Three Days in the Country is Patrick Marber’s reboot of Ivan Turgenev’s A Month In The Country, the action condensed into three days and this National Theatre production cut to two hours 15 minutes versus the Russian playwright’s bum-numbing four.
Set in a grand country estate, the home of rich landowner Arkady (John Light), in the mid 19th century, Three Days in the Country has all the ingredients for a pre-revolutionary Russian tale of heartbreak and woe. Class division? Check. Unrequited love? By the bucket load. A big house in the country, a weapon and an interloper whose thrown a spanner into the works? Da, da, da.
A languid air hangs over the stage, created here by Neil Austin’s lighting and Mark Thompson’s painted backdrop and spacious set, but behind this seemingly tranquil facade lie deep passions, betrayals and unhappiness. What, you thought a piece of Russian literature was going to be lighthearted and frivolous?
The outsider who is the catalyst for trouble is Belyaev, the handsome young tutor to Kolya, the son of Arkady and his restless wife Natalya (Amanda Drew). His arrival puts the household in a tizz and causes a fatal rift between Natalya and her 17-year-old ward, Vera (a brilliant stage debut by Lily Sacofsky) as they both fall in love with this enigmatic young man.
Also court in Cupid’s crossfire is an old family friend, Rakitin (John Simm), who has nursed a deep love for Natalya for 20 long years. Simm is excellent in the role giving a wonderfully composed performance that captures Rakitin’s bitterness, pain and desperation with real feeling.
Despite the rather bleak path the story weaves (although compared to Chekhov this is Neighbours) there is a light touch to Marber’s witty script and the modern cadence to the dialogue gives Turgenev’s tale a fresh edge and a big dollop of humour. Mark Gatiss as the hopeless doctor, Shpigelsky, turns in a particularly fine comic performance that produces the funniest scene of the play, collapsing with backache during a bluff proposal of marriage to Debra Gillett’s Lizaveta who was Gatiss’s comedy equal in a scene that threatened to steal the show. A less arthritic audience might have been rolling in the aisles.
Beautifully acted with great subtlety and space, Three Days in the Country is a lovely production that’s nicely paced and understated with just enough heart and soul.
Three Days in the Country | Lyttelton Theatre | Until October 21 2015