Review Finds "Listless Reboot" of Chekhov's "The Cherry Orchard" Misses Historical Mark

A recent review of Anton Chekhov's 1904 masterpiece, "The Cherry Orchard," staged at the Harold Pinter Theatre in London, has been described as a "listless reboot" that misses the play's historical significance. The production, directed by Conor McPherson, stars Kristin Scott Thomas as Madame Ranevskaya and Stephen Mangan as Lopakhin.

Patrick Marmion, in his review, notes that while Scott Thomas and Mangan are accomplished actors, the "reimagining" of the play strips away its original context. "The Cherry Orchard" is characterized as a subtle study of tragic self-delusion set during a period of societal upheaval in Russia leading up to the 1905 revolution. However, this production, according to the review, erases the sense of place and class struggle inherent in the original work.

The play's setting appears to have been transferred to the 1980s, a choice that conflicts with continued references to the abolition of serfdom in 1861. Furthermore, Chekhov's precise dialogue has been replaced with "blandly contemporary idioms," and actors are permitted to use their native accents. Marmion argues that without a sense of history, the stakes of the play are diminished.

Scott Thomas portrays Madame Ranevskaya as a "deracinated lady of leisure" with an "air of lofty indifference," finding escape in private reveries. While the role is acknowledged as tricky, defined by avoidance and passive aggression, the review suggests it should not be played with such coldness. Mangan's character, Lopakhin, a self-made man of peasant origins attempting to save the estate, is described as parading his background and lamenting being called an "uncouth money grabber." However, Marmion points out that Mangan possesses the "airs, graces, and RP accent of a public schoolboy," and the crucial agony of his romantic indecision with the maid Varya (played by Vinette Robinson) is not conveyed.

The review highlights Karl Johnson as the ancient manservant Firs, whose dementia-fueled actions, including "rakishly humping a wooden chair," are noted as a sharp moment. A festive interlude featuring dancing and magic tricks provides a brief focus, but otherwise, the production is likened to "watching a herd of cats purposelessly gathered on Chloe Lamford's damp-riddled set." Desultory props, such as a shrine of religious icons, are present but largely ignored, much like the play's historical context.

The production of "The Cherry Orchard" is scheduled to run until January 9.