Review: Summerfolk (Olivier Theatre)

Review by Daz Gale

⭐️⭐️⭐️

2026 is looking to be another exciting year for National Theatre, with a mix of bold new productions, returning favourites and West End transfers. Two of their three spaces have already hosted their first productions of the year and are now on to the second, but their largest space, the Olivier Theatre, has only just said goodbye to Christmas favourite Ballet Shoes. Moving into the iconic space for the season is a new version of Maxim Gorky’s Summerfolk, but would this interpretation get the season off to a hot start, or leave this gathering with a distinct chill in the air?

Set in 1905, the year after it was written, Summerfolk takes place in Russia as the elite retreat to the countryside for the summer to swim, sip champagne and start affairs. As they remain in their own bubble, blissfully unaware of the world around them and the fact that a storm is on the horizon (notably the imminent Russian Revolution), their attempt to enjoy their holiday getaway isn’t without its obstacles, with some voicing their displeasure and even disgust at the attitudes of the guests, and Varvara sensing this holiday idyll is on borrowed time.

Originally written by Maxim Gorky, Nina Raine and Moses Raine are responsible for this new version of Summerfolk, retaining the essence of the original while updating some of the language (with the inevitable inclusion of four-letter words as is so often the case with these modern revisions). It proves enjoyable and entertaining throughout, with some laugh-out-loud moments, and others that prove more serious, though the weightier subjects are perhaps not given the gravitas they deserve. Summerfolk also struggles from having too many characters, meaning it is often quite difficult to remember who someone is in relation to someone else (though thank God for the programme listing all of the family connections). Perhaps a nod to the elite of Russia being interchangeable, but this is a play that requires pure focus to keep up with who wants to have sex with who, essentially. It does mean that some characters suffer from being far too one-dimensional, never allowing the audience to get to know anything about them that is beyond surface level.

There is an overwhelming sense of Chekhov to the play, having been written the year he died, with characters feeling as if they have just stepped out of one of his plays themselves. The man even gets a mention with a character commenting on The Cherry Orchard by exclaiming it “went on too long” - in a case of life imitating art, I shared similar thoughts regarding this production. Though it was entertaining from start to finish, it did run the risk of outstaying its welcome, just like the characters in their summer dacha (country home) with a few false endings that all lead into another scene, giving the sense that the play might have proved a bit more riveting had it been slightly faster. Chekhov isn’t the only literary reference in Summerfolk, with characters referencing A Midsummer Night’s Dream throughout, and even appearing as characters from it briefly. I can’t say I completely understood the significance of it, aside from the obvious and tenuous connection of “summer”, but these drastically conflicting tones was one of the issues that stopped me loving Summerfolk as much as I hoped to.

Though the writing remains at a consistent quality throughout, the wavering tone proved quite jarring at times, with not all elements working together. I sense this was a deliberate choice from director Robert Hastie, but quite strange choices of music lost the escapism necessary for the play, while the wandering tone between humour and more serious subjects didn’t seem to segue as naturally as hoped. If the intent is to remind the audience that this blissful holiday was the equivalent of putting a band-aid on a hole in a sinking ship, then I understand the intent. All is not well in Russia in 1905, and the looming storm grows closer as the summer nears the end, but this could be signified through some tidier means.

Peter McKintosh’s set design is among the strongest aspects of Summerfolk. Initially dark and minimalist, as it centres on the bones of the dacha, a couple of reveals throughout Act One change the design slightly, but it is the beginning of Act Two that really blew me away, transforming the stage sensationally with an inspired use of design, ensuring the play was always a pleasure to look at. It should be noted that I counted three cast members tripping or stumbling (with one nearly plunging through a hole in the stage) at the performance I attended - though there were luckily no serious accidents at this performance, I imagine elements of this design may prove a health and safety nightmare.

The large cast all work well as an ensemble, with a collective strength despite their drastically differing stage time or how fleshed out their characters are. Doon Mackichan may be underutilised as Kaleria, but she makes her presence felt with her unique take on poetry, and Tamika Bennett gets a couple of shining moments as Sonya. Sophie Rundle bookends the play with some strong moments as Varvara, but then seems to be relatively sidelined apart from the seemingly never-ending line of men queuing up to woo her. Peter Forbes is a highlight with his larger-than-life presence as Semyon, with Arthur Hughes and Adelle Leoce giving a compelling and often uncomfortable dynamic as warring married couple Suslov and Yulia, providing some of the standout moments of the play.

Justine Mitchell was another highlight with her charismatic, complex and lovable portrayal of Maria Lvovna, particularly shining in her scenes with Alex Lawther as the lovestruck Vlass. It is Lawther who stole the show with his every appearance, nailing the comic timing and showcasing a richness to his character, balancing sweetness, naivety and a no-nonsense approach that threatened to explode at every moment. It is the contrast between Lawther’s first and last appearances that proved among the strongest aspects of Summerfolk, with an initial comedic character dominating proceedings in a pivotal scene later on. Though the cast all impressed in their own right, it is Lawther’s performance that stayed on my mind after I left the theatre.

You can always rely on National Theatre to provide a solid show, and that is exactly what Summerfolk is. Their usual quality is there to see, from design to performance. The problem is that’s about it. As a play and a production, Summerfolk is fine. Absolutely fine. Nothing more. That isn’t meant as an insult, nor is it overly complimentary. This is a fairly safe and satisfying night at the theatre that ticks every box, on paper at least. The issue is it doesn’t attempt to do anything beyond that, and with such high quality shows to be found, often on National Theatre’s multiple stages, the result is a production that does its job nicely, but is unlikely to compete with some of the stronger plays we have seen so far this year, and are likely to see over the next 9 months. Just like its summer visitors, it’s perfectly pleasant while it lasts (even if it slightly outstays its welcome), but by autumn, it will have quietly faded from memory.

Summerfolk plays at the Olivier Theatre until 29th April. Tickets from https://www.nationaltheatre.org.uk/productions/summerfolk/

Photos by Johan Persson