A charming, funny and beautifully poignant revival that grows richer and more affecting as it unfolds.
⭐️⭐️⭐️⭐️⭐️
What’s it about?
Ivan Turgenev’s A Month in the Country is a bittersweet comedy about love, longing and the complications that arise when a new arrival disrupts the seemingly settled rhythms of life on a country estate. The arrival of a young tutor sparks a series of romantic entanglements, jealousies and unspoken desires, as characters wrestle with the gap between what they feel, what they say and what they actually do.
Written by Russian novelist and playwright Ivan Turgenev in the mid-19th century, A Month in the Country is often seen as a precursor to Chekhov, exploring frustrated desire, boredom and the emotional undercurrents of life on a country estate decades before Chekhov’s great plays. This Donmar revival uses Irish playwright Brian Friel’s 1992 adaptation, which brings a distinctive wit and warmth to Turgenev’s original while retaining its bittersweet exploration of love and longing.
What I loved
This is a charming, amusing and beautifully poignant production, filled with wonderfully observed characters. The play begins gently and builds and grows beautifully over its two-hour running time, becoming richer, funnier and increasingly poignant as the relationships unfold.
This production has a stellar line up of actors who extract everything out of this play. Sophie Okonedo as Natalya is glorious. Elegant, aloof, and the centre of the drama. Okonedo also gets to wear Natalya’s beautiful wardrobe full of glorious long skirts and silk and satin shirts, all in stunning burgundy and pink tones. Thomas Arnold as Natalya’s husband Arkady is equally strong, bringing great gravitas to the role.
Alistair Petrie as Michel is fabulous — quiet, unassuming and effortlessly funny. One of my favourite moments comes when Michel announces to the group, several times, that he is leaving, only for absolutely no one to pay him any attention. Everyone is far too caught up in their own dramas and thoughts to notice him. It is hilarious, beautifully played and perfectly captures the self-absorbed little world these characters inhabit.
Rachelle Diedericks as Natalya’s ward is Vera is beautifully sweet, smart and increasingly wise to the emotional complications of the adults around her. Daniel Rigby as the doctor brings energy and humour to the role and at times seems to be channelling Ricky Gervais.
The comedy never feels forced; with the drama and humour perfectly balanced.
Director Lyndsey Turner uses voice recordings for select characters’ inner voices which is particularly amusing, letting us hear the thoughts that sit beneath their more restrained conversations. It is a clever device that plays beautifully with the difference between what people are thinking and what they are prepared to say out loud.
It is always exciting to see how the small Donmar stage is going to be transformed for each production, and in this case, we were met with a beautiful garden setting, providing an idyllic backdrop to all this emotional turmoil.
After everything that has played out throughout the play, A Month in the Country ends with groom to be Bolshintsov hearing Vera play the piano for the first time and with a simple and endearing smile on his face simply says, ‘lovely, lovely’. It brings together the comedy and poignancy of everything that has come before and shows the wonderful restraint of this production that makes it such a success.
Anything I’d change?
This is a production that benefits from being allowed to unfold at its own pace. Rather than relying on big dramatic moments, it accumulates small interactions, glances, thoughts and misunderstandings until you realise how invested you have become in this fascinating collection of people.
Who would enjoy it?
If you enjoy quality drama (with a comedic edge) performed by an exceptional cast, in an intimate theatre, you will love this production.
Who created it?
A Month in the Country is Brian Friel’s adaptation of Ivan Turgenev’s play, directed for the Donmar Warehouse by Lyndsey Turner. The production is designed by Leslie Travers, with lighting by Tim Lutkin, sound by Max Pappenheim and original music by Angus MacRae.
Verdict
Charming, funny and increasingly poignant, A Month in the Country is a production that quietly works its magic. It builds beautifully across its two hours, with a wonderful ensemble, an idyllic garden setting and countless amusing character moments. By the time it reaches its lovely final scenes, what began as a gentle comedy has become something altogether richer and more affecting.