Russian Director Krymov Gives New Life to a Classic Chekhov Tale

From Russia with love...of Chekhov.

Anton Chekhov, the Russian playwright and short story writer, considered one of the greatest writers of all time, is having his classic Uncle Vanya first performed in Moscow in 1899, reinvented by award-winning writer/director, and fellow Russian, Dmitry Krymov.

Krymov, via his theater company Krymov Lab NYC, is dedicated to creating dynamic, heartfelt, visually stunning theater that breaks traditional boundaries.

In collaboration with La MaMa Experimental Theatre Club, the Renaissance man (Krymov is a scenographer, graphic designer, painter, and teacher) will stage for the first time as a director one of the world’s greatest plays, because even though the play was first performed 127 years ago, its classic theme of missed opportunities is always relevant.

In the play, an elderly professor and his much younger second wife visit his late first wife’s rural estate, which supports their glamorous lifestyle. His daughter Sonya and former brother-in-law, Vanya, who have long managed the property, are none too pleased that the professor intends to sell their home.

Krymov, considered one of the most original directorial voices of his generation, chose Uncle Vanya because, according to the show’s promotional materials, “As the world burns with despair, longing, and betrayal, it is time for the Lab to take up Chekhov’s masterpiece, transforming it into a grotesque elegy, a wasteland vaudeville.”

The visionary artist and his international collective of actors, designers, musicians, puppeteers, and producers, and a Resident Company of La MaMa ETC, are dedicated to creating dynamic, heartfelt, visually stunning theater that breaks traditional theatrical boundaries with every surprising turn.

In its current iteration, the design goes on a journey along with the characters, with the actors transforming their environments using props and scenery to construct new worlds right before the audience’s eyes.

Straus Media spoke with Krymov (through his interpreter) to talk Chekhov, his exile from his homeland, and what it means to be called “a theater of the artist.”

Why Uncle Vanya?

I think most directors, when they come up with a theatrical idea that is interesting and fresh, it all comes down to a theatrical structure. The idea that came to me, I thought would be interesting, and from an unexpected point of view. It’s all a question of theatrical imagination that actually pushes me into a theatrical structure that I want to present.

How is your version different than the traditional productions?

In terms of the construction of the play, it’s going to be delivered differently. I value good actors, and I always need great actors to be in my productions. [The actors] use all of their soul, body, and mind to be part of that theatrical construction.

I managed to fit them into my idea, and during rehearsals, they surprise me all the time, and I’m enjoying.

You’re called “a theater of the artist.” What does that mean to you?

My first profession is art. I’m a set designer, an artist. Theater of the artist, it’s just one way of representing it. The visual moves the story.

When I started my company in Russia many years ago, I had no actors, only designers. We needed to do something visually very impressive and interesting so that the audience wouldn’t leave because we had no actors. They were all artists. But slowly, we started to invite actors.

You’re known for actors transforming their environment, mid-performance. What does that look like in this production?

It is the most important thing that you will see when you come to see the show.

Now, you’ve built this new American company in exile from Russia. How has that shaped what you’re making?

Well, first of all, this new company gave me life. It gave me oxygen. When I come to rehearsals with my actors here, with my people here in the company, I feel that life continues in these inhuman, idiotic circumstances, we find ourselves right now.

What does La Mama give you that other institutions would not have.

There were few people in New York who were willing to give me anything. But La MaMa is giving us this beautiful space. People who work here are so hospitable. We’re in residence here for three years, and I feel I’m at home when I come for rehearsals, when we move to the main stage. It’s an amazing atmosphere, and they’re amazing people who run the company.

La MaMa Experimental Theatre Club presents Krymov Lab NYC’s production of Uncle Vanya, scenes from country life from March 28–April 12, 2026 at The Ellen Stewart Theatre, 66 E. 4th Street, New York, NY, 10003.

Tickets are $60 for general admission, $45 for students/seniors, and $30 student/senior rush (as available at the door). For more information and to purchase tickets, please visit here.

Lorraine Duffy Merkl is the author of the novel, “The Last Single Woman In New York City.”