Revelatory. That’s the word for Australian director Benedict Andrews’s updated version of Chekhov’s 1904 tale, that hits the play’s poles of tragedy and comedy with devastating accuracy.
Beneath the references to vapes, “f**kwits” and Slovenian philosopher Slavoj Žižek, Andrews links the epochal shift in Chekhov’s world, where an old ruling order is passing, to our own – sometimes subtly, sometimes overtly.
