The Cherry Orchard
Harold Pinter Theatre
Playing until 9th January 2027
Photo credit: Johan Persson
{PR Gifted ticket}
Returning to her country estate from Paris, Madam Ranevskaya (Kristin Scott Thomas) is forced to confront the reality of her family’s financial situation. Neither her nor her brother, Gaev (Peter Wight) has the means to maintain the upkeep of the estate and the staff working in it. Fully aware of the situation, Lopakhin (Stephen Mangan), son of a long line of staff who served Ranevskaya’s family, comes with a plan to help the family out of admiration for Ranevskaya.
This version of The Cherry Orchard by Anton Chekhov and adapted by Conor McPherson has many interwoven storylines, centred around the reunion of a dysfunction family and its staffs upon Ranevskaya’s return. However, much of this is driven by admiration and fealty based on a class system, refusing the acknowledge the reality.
This is a complex story, with many symbolisms woven throughout. The plot highlights the entitlement and history and pride associated with the wealthy, so much so that neither Ranevskaya and Gaev could accept the help offered to them. However, under the direction of Ian Rickson, it is not pride that is displayed, but dismissal and denial, as if the siblings refuse to acknowledge the imminent auction of their estate and that they will be forced out of their own home.
Running in parallel to this, there are romantic plots that revolve around Ranevskaya’s daughters Anya (Anastasia Martin) and Varya (Vinette Robinson) and among the servants in the house. However, the interactions among the characters lack chemistry and we are left with blind faithfulness to an old class system, reflecting the lack of self-understanding, worth or purpose in the lives of those across all of the characters presented.
Dotted throughout, there is also the comedy, most of which come from the Firs (Karl Johnson), a senile servant that have served multiple generations of the family. The comedy arises at some of the most awkward times, almost interrupting the flow of the overall story and undermining the seriousness of the play.
While not expecting the characters in this show to undergo revolutionary progression nor reach some kind of epiphany during the course of the play, there is surprisingly little development without an inkling of progression of any of the relationships presented. Even the retelling of traumatic pasts like the death of Ranevskaya’s son is treated as a casual remark. Despite the fact the narrative describes the lasting effect and impact on Ranevskaya, Thomas’s portrayal of the character seems to suggest that she has completely moved on and it is just another inconvenient and trivial matter.
The set designed by Chloe Lamford resembles a rundown estate, fitting for the situation the family find themselves in. It feels simultaneously grand and also cramped at the same time given the number of actors that are on stage at any one time, creating a sense that the characters are trapped within the confines of the walls.
While The Cherry Orchard conveys a sense of deep-rooted pride and the issues the old class system, this production swayed too much in its unjustified comedy, focusing on the superficial indulgence rather than fleshing out the imprisonment of characters by their own woven narratives.
Creatives
Adaptation: Conor McPherson
Director: Ian Rickson
Set Design: Chloe Lamford
Costume Design: Sussie Juhlin-Wallén
Lightin Design: Bruno Poet
Sound Design: Tom Gibbons
Composer: Stephen Warbeck
Movement and Intimacy Director: Shelley Maxwell
Illusions: John Bulleid
Fight Director: Terry King
Producers: Sonia Friedman Productions, Winkler & Smalberg
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