Ahead of the production’s run at the Donmar Warehouse, actor Michael Hodgson sat down with Artiscape to discuss bringing Brian Friel’s adaptation of Turgenev’s A Month in the Country to life.
Set in a bustling 19th-century Russian country estate, the play explores the quiet domestic upheaval that occurs when a handsome young tutor named Rakitin arrives, igniting a tangled web of unrequited passions, romantic rivalries, and existential longing among the household’s bored residents—most notably the restless Natalia Petrovna.
Directed by the acclaimed Lyndsey Turner, Hodgson explores his role as Afanasy Bolshintsov—a character navigating social awkwardness, heartfelt vulnerability, and the pursuit of love amidst this atmosphere of restless desire.
1. What initially drew you to the role of Afanasy Bolshintsov, and how are you approaching his awkward, tragicomic pursuit of love amidst the restless atmosphere of the estate?
Michael Hodgson: Firstly, working with the great Lyndsey Turner initially drew me to it to be honest. I respect the woman so much. Then when I looked at Bolshintsov and I liked that he is socially awkward, a square peg and an imposter and he is exposure on a stick but he bravely (and it must be excruciating for him) carries on and takes steps into the unknown to try and achieve happiness and contentment. He is all heart, honest, exposed and vulnerable but profoundly moved by events in the play his present and new life gets a hold of him and he takes it by the scruff and tries to change it. Lyndsey gave me a brilliant note the other day… ’get the girl’ she said to me. It is a strong and direct note to play but with many arms and legs that reach out. Yet there are obstacles in the way of attaining what he wants and one must adhere to them and be aware of them but not to overtly play them I suspect, but Lyndsey is brilliant and smelling everything on the stage that may be misleading to the narrative. I trust her implicitly. She is legion.
2. Brian Friel’s adaptation brings a unique rhythmic clarity and warmth to Turgenev’s original text. How does Friel’s distinct voice influence the way you and the ensemble bring these characters’ unspoken desires to life?
Michael Hodgson: Well I keep thinking he has a wonderful voice and that voice is Irish also and with that comes the celebration of hopelessness, consternation at the world, its complexity and ambiguity at times and a naked exposure of the human self with relation to each other. We love each other but we also fear each other. He cares for you I feel with his words and takes you to places of pain and elation on a sixpence. And he spins a wonderful tale not forgetting.
3. You’re working alongside a stellar cast under Lyndsey Turner’s direction. What has the rehearsal process been like, and how are you tailoring the performance for the intimate, immersive space of the Donmar Warehouse?
Michael Hodgson: Re the space I don’t know yet as the tech begins next week so I am excited and curious too. Small spaces are deceptive and often have a curious effect on the inner life and energy. Small spaces are infinitely different and various atmospheres in small rooms with people in them, (like say in a pub) carry a crackle and an intimacy that is tangible and immediate which is very alive in many ways, so the tech and beyond is going to be very interesting for finding out what is out there. Re Lyndsey and her direction, she is incredibly detailed and her scrutiny is endless and her ideas because of that, spring out everywhere, moment to moment. She possesses an exceptionally quick mind, like lightning she is and always wants to help the actor and the scene to achieve its purpose and outcome. She has intuition in spades coupled with a very sophisticated theatre brain. It is tremendous being able to learn from her. She said it is about learning and finding out together which I really liked. And I like to keep ‘the bonnet up’ and keep tinkering if you get my meaning, so I hope we can continue to find stuff. Re the ‘stellar cast’, they are a friendly group of people and I crept in the rehearsal room and sat amongst them much like Bolshintsov would do, part outsider, but immediately felt welcomed and they are all so easy to work with and be around socially. The chat and inquiry never stops. All very funny, very quick and good for a laugh.
4. The play deeply explores the contrast between the lives we lead and the lives we imagine for ourselves. Where do you feel Bolshintsov fits into this web of ambition, longing, and social propriety?
Michael Hodgson: Without realising Bolshintsov may be socially climbing in some way but it is certainly not his intention. He has genuine profound feelings for Vera and if they are to be together then it would be mutually beneficial in many ways I would hope. He does want to change his life. He is lonely and isolated and has a curious mind and believes in self improvement spiritually but he has stagnated. Only when he gets his cue so to speak does he want to change his life, he acts and maybe does he only then see how one dimensional his life is and how a dormant sensibility is awakened. He sees that life could change forever and he throws himself at this. He wears his heart on his sleeve along the way and doesn’t mind the banana skin or the humiliation of it along the way. I guess he wants it more than most and is prepared to suffer the slings and arrows along the way.
5. With such an extensive and varied theatrical career – from The Pitmen Painters and the RSC to Waiting For Godot – how does your broad background shape your approach to a character who bridges subtle comic relief and genuine poignancy?
Michael Hodgson: Maybe the two aren’t that far apart when you look at it. So its not such a big change to make maybe. But humor, formality and absurdity are often friends. With a writer like Friel it’s there. Egg on the face moments are never far away from anything, particularly serious moments. But ultimately its the writer and director that shape you and trusting that.
6. What do you hope audiences take away from this fresh revival of A Month in the Country, and what are you most looking forward to as you take the show to the Donmar stage?
Michael Hodgson: That all of us on and off the stage are funny, curious, hopeless, helpless, insensitive, forgiving and want to be loved. I am looking forward to seeing what the space does to the play and the life of it.
Production Information & Dates
- Playwright: Brian Friel (after Ivan Turgenev)
- Director: Lyndsey Turner
- Venue: Donmar Warehouse, London
- Run Dates: 22 August – 3 October 2026
- Press Night: 2 September 2026
For more information visit the website
