Conor McPherson’s adaptation of the Chekhov classic, directed by Ian Rickson is now officially playing in the West End.
WhatsOnStage: “McPherson’s script is salty and smart and, most laudably, never sounds like a translation. Not everything about the update works, but that’s a small quibble about an emotionally intelligent production that renders a classic play alive and accessible, while still satisfying the most exacting of Chekhov enthusiasts, and boasting one of the greatest ensemble casts on any current London stage.
The Guardian: “The atmosphere of absurdity and pettiness works well, with endless witterings, funny moments and an atmosphere of languor. There is guitar playing too from clerk Yepikhodov (Shubham Saraf). Peter Wight brings pompous comedy as Ranevskaya’s brother, Gaev, and Ruby Bentall is strong as German governess, Sharlotta.”
London Theatre.co.uk: “Chloe Lamford’s eerie, melancholy design feels appropriately claustrophobic (we never go outside in this production), with a religious shrine for the dead drawing the eye in the stark space, while Sussie Juhlin-Wallén’s costumes are somewhere between period and modern dress. That fits with the sense here that although this is still a turn-of-the-century tale, it is also timeless in its exploration of love and loss, family and faith, the lure of nostalgia and the explosive force of change.”
Theatre South East: “I enjoyed this production, but was I wowed by The Cherry Orchard?… Unfortunately not. I remain conflicted, I found The Cherry Orchard extremely watchable, this particular adaptation is easy to understand and accessible to a new audience, however I didn’t find the characters relatable and therefore I wasn’t very empathic to their ultimate fate as perhaps I should. I am very glad to have ticked off The Cherry Orchard on my list of ‘classic plays to see’. This is a really good play, very well produced. It just didn’t hit home for me.”
Time Out: “More importantly, there an absolutely storming performance – dare I say career best – from the perennially underestimated Stephen Mangan as Yermolai Lopakhin. A self-made man of humble origins, his relationship with the lofty but impoverished household of Lyubov Ranevska (Kristin Scott Thomas) is the complicated heart of play.”
All That Dazzles: “What is interesting is how Conor McPherson adapts this work and puts his own stamp on it. A talented writer in his own right with a proven track record, this is where this production of The Cherry Orchard gets a bit muddy. McPherson struggles to find the right tone of the story, struggling to find the balance between the more comedic moments and the darker ones. This acts as a disservice to the material so that the stakes never feel as high as they should, and the ultimate twists and turns in the story feel smaller than they ought to.”
Theatre & Tonic: “Rickson’s direction remains faithful to the spirit of Chekhov’s original, while embracing the comedic elements that can so easily be overshadowed by its more melancholic themes. Despite some ambiguity in its visual identity, the production is sleek, accomplished and thoroughly engaging, capturing your attention from the outset and holding it throughout. An impressive examination of a changing society and an excellent revival of a true classic.”
The Telegraph: ” The actress plays agonised heroine Ranevskaya with rich emotive detail, supported by glorious performances across the board.”
British Theatre Guide: “Composer Stephen Warbeck provides wonderful moody music, and act three’s travelling players (Chekhov was much influenced by Hamlet) lift the party tempo with their cello, accordion and violin, but there’s something stilted about the performances, the actors not yet in tune with each other and themselves.”
Theatre Weekly: “Leading the cast is Kristin Scott Thomas, delivering a detailed character study of Ranevskaya. She leans away from the character’s warmth and instead focuses on her frustrating inability to confront reality head-on. She retains a natural charm, drawing others in even as the walls begin to close around her. Scott Thomas understands that Ranevskaya’s tragedy lies not in ignorance but in deliberate avoidance.”
The Standard: “Rickson staged a limpid Seagull with Scott Thomas in 2008, and he and McPherson collaborated on a masterly but sadly Covid-halted Uncle Vanya in 2020. Here, the director, writer and a star-led ensemble come up with something more challenging and intriguing.”
The Cherry Orchard continues to play at the Harold Pinter Theatre until the 9th January.