• Runtime: 165 minutes
• Director: Cynthia Marsh

• Audition

Performances 13-18 April 2026 in the Auditorium

Directed by Cynthia Marsh

NB Easter weekend in 2026 is Friday 3 rd April - Monday 6 th April. It is likely you may be needed at some point over this weekend.

Setting:

Uncle Vanya opens in the Russian provinces in 1895, somewhere in present North Eastern Ukraine, not too far from Kharkiv and Sumy.

Characters [‘playing age’ is a rough indication and not meant to be prescriptive: I am most interested in the character you can create. ‘Defined age’ means there is a specific reference in the text]

Astrov, (Mikhail Lvovich) a country doctor (playing age mid 30s to mid 40s) defined age 36-37. Intelligent, educated, hard working, interested in the forest and its development. But is becoming disenchanted with his lonely, demanding, provincial life. Suave, still elegant, he makes an impression on women; likes to be admired.

Vanya, (Ivan Petrovich) uncle to Sonya (playing age: mid 40s -mid 50s) defined age, 47. Had great expectations in youth, now a country farmer supporting remnants of his family. So, frustrated, a sensitive personality being crushed. Deep emotions. He personifies the enthusiastic, sensitive intellectual, reaching middle age and regretting his lack of success in love and in life. His highly critical and ironic view of life, underpins his unhappy fate, but also contributes greatly to the comedy in this play. He is at the heart of the blend of comedy and tragedy.

Sonya, (Sofia Aleksandrovna,Sonechka) Professor’s daughter by first wife, Vanya’s niece (playing age mid to late 20s), defined age, about 24. Hardworking companion and assistant to her uncle on the farm. Not at all attractive to her great regret. Finds herself overwhelmed by the arrival of the St Petersburg family. Sincere, and capable of great love and self dedication.

Serebryakov, (Aleksander), St Petersburg professor of aesthetics and philosophy, recently retired (playing age mid 50s-mid 60s). Originally married to Vera Petrovna, Vanya’s sister. The estate was her dowry, and will pass to her daughter Sonya, though it is now in the control of Serebryakov, her father. Still covets academic success and power. Irascible, plagued by ailments, some imaginary. Expects deference for his career and as the self-appointed head of the family. Something of a caricature.

Elena, (Elena Andreevna, Lenochka) Professor’s second wife (playing age late 20s- mid 30s) (defined age 27). Studied music at the Conservatoire in St Petersburg. Daughter of a senator. Very attractive, and conscious of it, but is trapped by her beauty; and trapped in her marriage to an older man. She makes a stark contrast to Sonya. Can be cold, unfeeling when it suits her but also deeply susceptible to love.

Mariya Vasil’evna, a widow of a high up civil servant, mother to Vanya (and Vera Petrovna); grandmother to Sonya; mother- in-law to Serebryakov (playing age late 60’s –70’s+). Old school, blue stocking. Part of the liberal, free thinking movement that drove intellectual life in the Russian 1870s- 1890s, but her ideas now seem dated and unnecessarily old fashioned. Haughty. Idolises her son-in-law but not her own son, despite his sacrifices on behalf of the family. Can be unfeeling.

Marina, the long term family nanny (playing age mid 70s - mid 80s); nanny, recruited from among local peasantry, to Vanya and Vera; to Sonya, and maybe even to Mariya in the distant past. Still treats them as children. Kind, gentle, loved and respected. Substitute mother figure to Sonya. Keeps the household grounded but also still too much put upon.

Telegin (name possibly derives from ‘telega’, a cart, or similar, might suggest he is on the move with no permanent residence). A former small landowner, now living hand to mouth, dependent on kindness of his friend Vanya for board and lodging. A frequent figure in the extended families of the Russian late 19th century. Sometimes called a ‘parasite’. Plays the guitar ( or some other portable instrument). He is a godfather to Sonya. Has a skin condition, hence his nickname ‘pimples’ (playing age late 40’s to 60’s). He is sentimental; nostalgic; living in the past. His unfortunate life contrasts with Vanya’s present dilemmas. Often inadvertently says the wrong thing and so can be played with comedy.

Efim, farm employee: night watchman; messenger (any age, 20’s to 60’s) much presence but few lines. The practice on 19thc estates was to have a guard at the perimeter. At night, or in bad weather Efim patrols with dogs, alerting the household to any potential danger by banging on a hollow box or stick to suggest all is well; the dogs quickly convey when things are awry. If any problems, the family knows Efim will deal with them. Is he part of the sense of imprisonment the estate conveys for some, or is he more of the constant reassuring presence?

Possibly also require walk-on peasant house maid (any age, above 18).

Understudies:

if you would like to be part of this show and would like to gain experience, I would welcome enquiries about understudying the major parts.

Audition

Please wear clothes and footwear you can move in easily for the audition. Do let me know in confidence and in advance of the audition if you have any problems with reading or in coping with the audition process.

I am happy for you to read the text. You do not need to know the parts by heart. But I will expect you to have read the play and thought about the way the individual characters fit into the family and extended group. So I am looking for the ability to create a believable character as well as willingness to work closely in a team.

There will be two other casting advisers apart from me.

Two copies of the script are available at the Box Office. Please do not remove them from the theatre. As an adaptation and new translation, this script differs from the standard versions published in Penguin, Oxford or individual editions, and is copyrighted to me. So I do urge you to read my new version in preparation for the audition.

I shall post this audition notice in the Clubroom. The set pieces for each role will be available in the Box Office and on-line. You can copy them but please leave the paper masters in the Box Office. And please respect my copyright across the board. Full scripts will be available at the first rehearsal.

Rehearsals will be on Mondays, Wednesdays and Fridays with one or two omissions, and on Sundays where necessary towards the end of the rehearsal process. Occasionally, and only with prior arrangement, I will use other days in the week if necessary.

Enjoy reading and exploring Chekhov, especially if this is your first experience of his work, or indeed a return to it. In addition he is a magnificent short story writer and his theatre has a truly international reputation, mostly of course in translation, on a par with Shakespeare.

Audition pieces.

1. pp 2-3: Marina and Astrov.

1A.pp 6-8: Telegin, Elena, Sonya, Mariya, Vanya.

2. pp10-11: Elena, Vanya.

3. pp13-15: Serebryakov, Elena, Vanya, Marina [Sonya]

4. pp19-21: Sonya, Astrov

5. pp 21-23: Elena, Sonya, Efim.

6. pp 30-33: Serebryakov, Vanya, Mariya, Telegin, Sonya, Elena

Please download these pieces as required.

Please do contact me if you have any queries or questions.

Cynthia Marsh, 4 November 2025.