Production photography by Bob Seary
THE CHERRY ORCHARD, regarded as one of Anton Chekhov’s finest plays, was was first performed in 1904. This version, translated and adapted by David Mamet, was first seen in the 1970’s.
The play can best be described as a tragi-comedy. Briefly the narrative of the play is about an aristocratic Russian woman Ranevskaya and her family as they return to their family estate (which includes a large and important cherry orchard) just before it is auctioned to pay the mortgage.
Whilst given various options to save the estate, the family listlessly does nothing to save the property, and the play ironically ends with the sale of the estate to the son of a former serf.
The family leaves to the desolate, destructive sound of the cherry orchard being cut down.
In Mamet’s adaptation, the aristocracy’s lack of concern is very similar in many ways to that of the very rich today. The play also highlights Chekhov’s astute abilities as a great observer of human nature. The play is also about family history, treasured memories and places we consider very important in our lives. In Mamet’s version there is also a concentration on scenes about sexuality, in particular frustrated sexuality/desire.
Clemence Williams is the helmer of the current production.The wonderful set design by Jonathan Hindmarsh has clean elegant lines, a semi-sunken living room leading to stairs, and a raised level at the back leading to other rooms. Benjamin Brockman’s lighting design was exceptional.
Costumes were reminiscent of the 1950’s period with a hint of lost wealth and elegance.
Eliza Scott’s soundscape at times, whilst excellently performed, felt rather distracting and often it felt like it worked against the work that the cast were trying to do.
Williams’ production didn’t come together well. We follow all the characters overlapping stories but one felt a little emotionally detached. The witty at times very subtle comedy did not always work and was contrasted with very intense emotional scenes.
Elegantly dressed, dithering Ranevskaya was given a terrific performance by Sarah Chadwick, who garners our sympathy and understanding.
Lawyer Lopakhin, as played by Alex Bryant-Smith, has great sounding, well meaning idealistic excuses for the exploitation of the property (and therefore destruction of the orchard).
Dunyasha the maid was given a tremendous performance by Cecilia Morrow. Anya was excellently played by Miranda Daughtry. Gaev was played with debonair flair and a big heart by Brett Heath.
The old servant Firs was charmingly played by Nicholas Papademetriou. A sad, forlorn figure, Firs had felt that he was part of the family and relied on their help all his life but was now being abandoned and forgotten about.
Why was Charlotta, played by Isabella Debbage, portrayed as gypsy like magician’s assistant?! It just didn’t work and I didn’t think much at all of the glove/sock puppets!
Trofimov, the constant student sprouting Bolshevik-political-theory, was exuberantly played by Jasper Garner Gore. Benjamin Vickers as Pishchik was in fine form. Josephine Starte as Varya gave a finely balanced, intense performance.
The play asks, are these characters being over-run by a new conservatism? It feels more than a little relevant in today’s times.
Running time- 2 hours 20 minutes including one interval.
THE CHERRY ORCHARD is playing the New Theatre until Saturday 28th May.