Walking in to the small, cosy auditorium of the Lord Stanley theatre, I had little knowledge of the story of Anna Karenina. After the show, I left with a comprehensive understanding of the tragedy. Victor Sobchak’s adaptation clearly revealed the intricacies of the relationships of the protagonist, as well as those around her, which I am sure was no mean feat against the works of Tolstoy. Throughout most of the piece, the text was given life through a mixture of solid acting, and technical support. However, much of the action took place against the back wall of the stage, leaving a large space between the action and the audience. I found myself craving proximity, and was rewarded with this when monologues encouraged it.

Anna’s husband, Alexei Karenin (played by Ian Sharrock), took the space when enlightening us upon his disgust at his wife’s unfaithfulness. Sharrock’s portrayal of Karenin’s gradual demise into pathos was touching to watch. His brave character choices were followed consistently, working well in opposition to those of Lucia Edwards’, playing Anna. The result was a bizarre, but real sensory aesthetic that was unashamedly thrust upon the audience. Edwards’ choices were far more subtle, with a gentler, contemplative approach to her interaction with others. Without a doubt, on the whole, this worked. On occasion, however, the character could have explored her primitive, guttural angst, letting her hidden frustration rear its head, and upping the ante for some of the more heart-driven scenes.

The music and choreography worked particularly well during a movement sequence in which Anna was symbolically impregnated by a kind of metaphorical sense of impending doom, represented through physical theatre. The lights turned blood red as sinister laughs from the wings transformed themselves into bodies, fingers and limbs, moving around the space, and smothering Anna’s aching body.

There was a tendency towards speaking quietly and intimately, sticking with the realism of the style, but losing some theatricality that keeps us engaged. However, this sense of theatricality was revitalised when Jamie Hufges-Ward (playing Stiva), Lily Alyss (as Betsy), and Nalan Burgess (Kitty) began to speak. This contrast in vocal energy and range was a welcome boost from the general intimacy of the piece, allowing the story to be shared more directly with the audience, whilst retaining its truthfulness.

The play is a dark, but gentle introduction into the world of Tolstoy. It is sure to be of interest to those familiar with his works, and worth a try for those who want to be. Theatre Collection’s adaptation of Leo Tolstoy’s ‘Anna Karenina’ plays at the Lord Stanley theatre until the 16th October.