The Sherman Theatre, Cardiff – 13-28 October. Reviewed by Michael Lock
4****
It took Chekhov two years to write ‘The Cherry Orchard’ and it is widely considered to be his greatest play. He released it as a comedy and the debate ever since the play’s original director Stanislavski staged it, has been whether Chekhov’s comedy is clear. Apparently, the original stage director and cast found it too tragic to be humorous and Chekhov died shortly afterwards leaving audiences unsure and emotionally torn. On top of this, the problem for us Brits is how we interpret this low-key plot, with its psychological ideas around miscommunication and self-consciousness. A fully comprehendible English translation of this play is hard to achieve. ‘The Cherry Orchard’ is often seen as very ‘of its time’ – a classic case of you had to be there! – in this case: Russia, 1904. So, I arrived thinking: how on earth could they respectfully re-present it for today’s audience?
Successfully is the answer, this is a very good show!
This ‘reimagining’ (as they call it) is a bold move and to be fair the team’s daring has certainly paid off! Welsh writer, Gary Owen and artistic director, Rachel O’Riordan have without doubt worked hard on adapting this classic. The cherry orchard is superimposed onto Welsh, Pembrokeshire soil. Bloumfield sits near the coast in an area where Owen himself, grew up. The cherry orchard is being sold because Rainey (Chekhov’s Ranevskaya) is not great with money and has spent out on excesses. She consumes to escape memories of the past. As in the original, the play examines social change alongside the beauty/foolishness of people. Immature characters go nowhere and apparently fail to grow or develop as part of the play’s creation. Yet, instead of Russia under Nicholas II you can feel the firm grip of Thatcher and a real sense of the economic rough and tumble under our very own ‘Iron Lady.’
The play cleverly and intricately manages to make ‘The Cherry Orchard’ a comedy that feels true to the original, while referencing a period in modern history that is a little closer to home. Peaks and troughs, with a well-considered shifting pace, make this a thoroughly enjoyable performance that might have a general appeal. There are plenty of Welshisms, as well as some funny British phrases that give us a real sense of 80’s Britain. We are treated to a high-quality comic script that gives our nervous system and belly a thorough workout, interwoven with tensions and frustrations throughout. True to its original form, social status is blurred and speaking out of turn is standard. Teenage strops from mother follow equally immature toilet humour from her foolish brother, Uncle Gab. It is not clear who is the role-model as we laugh out loud at role reversal gone mad. Light and dark humour are appropriate in balance and a spot on musical score enhances what I would consider top notch entertainment. Dexys Midnight Runners, Roxy Music and The Jam are a well-chosen accompaniment, evoking memories of Britain in the early 1980s (for those of us old enough to remember!).
We are treated to a spectacular cast who breathe a last bit of life into ‘The Cherry Orchard.’ The acting makes this a joy to behold. Denise Black as landowner Rainey is absolutely fabulous (when you see her you might get the reference). She is totally in denial and uses familiar escapisms as she buries her head from a life of mischief and regret. Reminiscent of the past (and true to the original) Rainey is unable to learn from mistakes and when the going gets tough, the tough gets the train. Rainey neither makes progress nor moves forward. Her fall depicted brilliantly, I felt pity and yet through making a mess with the money, our raised eyes accompany chuckles as we watch her on her way down. Hedydd Dylan does a super job of bringing Valerie to life and she brings so much to this mother/daughter relationship.
If Chekhov was a child of the 80’s we might be hearing echoes of a slightly different idealism, portrayed wonderfully through Richard Mylan’s Ceri (Trofimov). The charisma he oozes and near perfect delivery makes him one to watch! Morfydd Clark’s Anya wraps Ceri around her little finger, using her charms which in turn belittle his higher thinking. Her experimentations with love and affection see her flirting her way through life and enjoying the ride. Dottie (Dunyasha), played by Alexandria
Riley is a crucial character and is a real favourite for me. She turns orders on their head and says it how it is. Simon Armstrong as Gabiel (Gaev) brilliantly blunders his way through, providing classic comic moments with a fresh coating of pebble dash. His misfire with Dottie creates audience cringe that keeps us going and totally engrossed in the second half. Last but not least, there is up and coming Lewis (Lopahkin) played by Matthew Bulgo. His solid performance amongst solid performances makes this a play I would thoroughly recommend. Character is fate left me considering the future of this proud man and his newly acquired prospects. Those dirty, well-worn boots are significant to his roots, as he drives forwards hopes and dreams beyond his means. The all-important bookshelf stands central and signifies difference between tradition and stability, contrasted with the more disposable and short life, quick fix of a more modern-day Britain.
This is most definitely comedy and I think Chekhov might be proud; the childishness and social satire leave the audience feeling empowered and more mature in their judgements. I am left sympathetic and yet feeling exhilarated from smiling my way through, laughing out loud and thoroughly enjoying this 20th century comedy remix. If you get the chance and can get in, I would highly recommend ‘The Cherry Orchard.’ браво! (Bravo!)
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The Sherman Theatre’s ‘The Cherry Orchard’ is a part of the Wales’ Russia’17 season that marks the centenary of the Russian revolution with a range of events which capture the social and cultural revolutions of the era, and Wales’ historic connections with the Russia of the time.
