Mark H. Dold in Vanya at Barrington Stage Company
A Career Defining Performance
By: Charles Giuliano - Oct 19, 2026
Vanya
By Simon Stephens
Co-created by Simon Stephens, Andrew Scott & Sam Yates after Anton Chekov’s Uncle Vanya
Directed by Alan Paul
Starring Mark H. Dold as Ivan (Vanya), Sonia, Alexander, Helena. Elizabeth, Michael, Maureen and Liam in four acts
Scenic and lighting design, David Landar; Sound, Sean Doyle; Production stage manager, Leslie Sears
Barrington Stage Company
Boyd Quinson Theater, Pittsfield, Mass.
October 8-24, 2026
Everything about the Simon Stephens deconstruction of Anton Chekov’s Uncle Vanya into the one act solo by Mark H. Dold, Vanya, at Barrington Stage company is truly remarkable.
Not just the play, but the very theatre, has been turned on its head. The fragmented but functional set has been situated on the extended stage. The reduced audience of 90 seats has been set on rows on risers at the back of the stage. As conceived by the inventive director, Alan Paul, this has created a uniquely intimate ambiance. The versatile actor is virtually in the lap as well as hearts and minds of the audience. Addressing them in remarks before starting the 110 minute performance he stated with profound accuracy that “We are all in this together.”
As a handicapped elder I anticipated this experience with trepidation. The stage was approached by a ramp followed by the challenge of an ascent to row G of jury rigged seating. Sensing my trepidation, with an astonishing act of kindness, a couple offered to swap their front row seats with ours. It was a stunning example of all too rare generosity.
We settled in to regard the unique set and objects we faced. Immediately in front of me was a metal and leather Barcelona Chair originally designed by Marcel Breuer. That familiar, iconic, Bauhaus creation signified 20th century modernism and a statement of departure from the Czarist Russia of the play which had its premiere in 1899. While tea was served there was no evidence of a traditional samovar. That break from tradition was conveyed in the text and delivery with no attempt for period and site specific accents.
Looking out from the stage and its props, including a door frame at the center, to left and right were abstracted trees conveying the rural setting of the country estate that, for much of his adult life, Ivan has struggled to manage while sending rent to the absentee owner. Alexander, in this iteration, is a pompous, long past his prime filmmaker.
Ambling onto the stage, dressed in tan pants and a matching knit polo shirt, the actor Mark H. Dold, greeted the audience and introduced himself. He acknowledged and greeted individuals in the audience. He told us that the inlaws and extended family were present. There were the usual housekeeping announcements. This prelude helped to put everyone at ease and on the same page for what proved to be a daunting, virtuoso performance demanding every iota of our attention.
It helps to be familiar with the iconic play. I had seen several productions including those of Barrington Stage and Williamstown Theatre Festival. In preparing this review I researched the characters and plot points. Interacting with Dold in the lobby after the show I asked where was Vanya?
With animation he replied that this is not Uncle Vanya, but rather, an entirely different creation based on the canonical play. “The actual word, Vanya, is said only once in this play.”
I asked just how challenging it is to play all of the eight characters? “I have said this before,” he responded, “But I do not feel alone on stage. I am there with all these wonderful characters which Chekov created and wrote for with such brilliant nuance.”
Initially, it was difficult to get in sync with the performance as the characters constantly morphed. The experience reminds me of the Greek myth of Theseus entering the labyrinth to slay the Minotaur. To find his way out of the maze he unwinds a string tracing back his steps.
Similarly, I experienced Dold’s astonishing performance as unreeling a single thread. There was the clever use of props - sunglasses, a dish towel - to signify individual characters. With feminine gestures he demarked Sonia, Helena and Maureen. Particularly astonishing was a scene between Sonia and Helena as he switched from one character to another.
To execute and define, not just eight characters, but the complex plot he called upon every trick, stunt and device in his actor’s arsenal. There were character shifts using exits and entrances through the ersatz door. The vocal range ran the gamut from soft, feminine tones to bellowing rage when Ivan famously flails about attempting, but failing, to kill his nemesis Alexander.
This sequence has him charging off stage into the darkened house expanding the comprehension of space. This comprised the entire theatre as part of the performance. Whoever thought of that deserves credit for theatrical invention and genius. The last time Astrid and I were seated on stage was for a London performance of Pirandello starring Joan Plowright. The scent and flavor of proximity was palpable.
Even stripped to its bare bones the plot of Vanya always resonates. It centers on the tragedy of Ivan having spent the prime of life scrimping and saving to manage the estate for the self infatuated artist Alexander. He has visited the estate to announce a plan to sell it. What will become of his niece, Sonia, who is the actual heir and owner?
Dold unravels the tangled sleeve of care entailing romantic love plots. Ivan lusts for Helena. Sonia is in love with the drunkard doctor Michael. She wants to know if he has feelings for her.
Helena suggests that she speak to him of his interests and intentions. Michael shows her maps and video projections. They reveal deforestation. This is among the earliest references to ecology in literature.
Failed in the attempt to sell the estate, Alexander and Helena leave for the city. Reykjavík! Really, Ivan scoffs.
The play winds down and Ivan will resume paying rent.
This was another of those rare occasions when I left a play but it didn’t leave me. As they say of athletes he left it all on the field. In this case the stage with a Hall of Fame theatrical performance.