Vanya, Andrew Scott’s audacious one-person rendition of Chekhov’s play, has arrived at the Lucille Lortel Theatre, following a lauded West End run. Under the direction of Sam Yates and adapted by Simon Stephens, this reimagining of Chekhov’s classic strips the play down to its emotional core and unearths new truths in the play.
Yates described an extremely exploratory development process. “Andrew and I agreed to try anything,” he said. “We felt we were making something new to us, so there was a lot of road testing.” Before rehearsals even began, the team spent a year in discussions, testing ideas and refining the approach. “These early meetings included Simon and Rosanna [Vize, the show’s scenic designer], and everyone’s brains and hearts were engaged in the work from an early stage.”
The production takes full advantage of Scott’s versatility. “With a solo performer, there blossoms a very connected relationship between the audience and Andrew,” Yates said. “They are watching a single face, which allows for incredibly detailed character work.” He also emphasized the emotional power of this approach: “Chekhov has provided characters that have endured. They are all lonely in their own way, each seeking connection. So this form felt powerful as a way to zoom right in on each character.”
Vize crafted a space, enhanced by James Farncombe’s lights, that gives Scott the freedom to shift seamlessly between roles. “There’s an honesty to Rosanna’s design,” Yates said. “We wanted everything on show so that the real magic comes from Andrew’s performance.” He also highlighted the set’s flexibility: “The design enabled this to happen. It can also house and hold a multitude of states, aided by lighting designer James Farncombe’s beautiful lighting design.”
One significant addition in Stephens’ text is the presence of Vanya’s sister Anna, whose absence looms large in Chekhov’s original but is given new weight here. In fact, it casts a ghostly light over the whole production. “Her death was a huge event in these characters’ lives,” Yates said of the character. “Chekhov mentions Anna’s death in the first moments of the play, and we wanted to shine a light on that.” Yates drew parallels to his previous work: “I’d directed a production called Incantata based on the poem by Paul Muldoon. This was about a man trying to reach catharsis through creation—to overcome grief through making art. I was drawn to that aspect of the play.”
Yates remains in awe of his lead actor’s talent. “Andrew has an amazing imagination, flawless technique, and a deep soul. When he steps on stage, one is aware he’s about to go into a truly honest imaginative space for a period of time. He’s observant, sensitive, and tough—all essential for forging an experience such as this,” he said. “He is relentless in his pursuit of excellence, while also being so free and fun.”