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Brian Friel’s version of Turgenev’s A Month in the Country is more sexually and psychologically explicit than the original, with the character of Natalya firmly at its centre. Her boredom, sense of entitlement and neediness become the driving forces of a drama in which desire, jealousy and emotional frustration steadily destabilise a superficially tranquil household. Friel makes the play leaner, livelier and considerably funnier than the original. Turgenev regarded his plays as works to be read rather than performed, and Friel cuts the wordiness while bringing the characters’ suppressed feelings sharply to the surface. However, he retains Turgenev’s rich imagery. The curtain rises on a card game in which the comic tutor Schaaf declares that hearts are trump, neatly prefiguring the romantic entanglements to come. Aleksey’s kite, a symbol of youthful freedom and carefree abandon, vividly suggests why Natalya is increasingly attracted to the young tutor. Indeed, his exuberance stands in stark contrast to her husband, Arkady, the dam builder who seeks to contain and control the powerful emotional currents running beneath the surface of this complicated household. As Natalya, Sophie Okonedo is superb, capturing a character who is spoilt, self-indulgent and domineering, yet never entirely devoid of self-awareness. She gives Natalya a compelling combination of charm and cruelty, making her manipulations both infuriating and painfully recognisable. Alistair Petrie is equally impressive as the complex Michel, bringing restraint, intelligence and emotional depth to a man caught between affection, frustration and resignation. The rest of the cast are strong, with Mark Hadfield standing out as the blustering, bewildered Schaaf, wringing comic gold from his sexual malapropisms. Lyndsey Turner directs with a sure sense of pace and a keen eye for the shifting dynamics between the characters. She balances comedy and emotional intensity with considerable skill, allowing the laughter to sharpen rather than soften the underlying tensions. The production moves effortlessly from flirtation and frivolity to jealousy and hurt, creating an atmosphere that is both playful and increasingly perilous. Friel’s version of Turgenev’s classic explores complex relationship questions that remain strikingly relevant, from boredom and emotional dependency to whether a husband might be able to share his wife’s affections. With its potent currents of desire, jealousy and disillusionment, A Month in the Country makes for a compelling, witty and emotionally charged evening in the theatre.
Rated: ★★★★★
Reviewed by J.C.
Photo by Helen Murray
When, Where, Getting there:
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