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Post by Jan on May 18, 2024 11:57:27 GMT
Thank you for explaining- I never would have guessed that Lopakhin and Varya are usually the central focus. I actually didn't get what Akhtar did/said to her at the end when she was laying on top of the carpet. But I had long since stopped caring at that point, I just wanted the whole thing to end and go home. One time Kenneth Branagh had the brilliant idea of staging all four of the great Chekhov plays in rep with a single company. Sadly it never happened but Lopakhin/Varya would of course have been played by the same actors as Astrov/Sonya in Uncle Vanya - many parallels. |
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Post by alessia on May 18, 2024 12:11:43 GMT
Thank you for explaining- I never would have guessed that Lopakhin and Varya are usually the central focus. I actually didn't get what Akhtar did/said to her at the end when she was laying on top of the carpet. But I had long since stopped caring at that point, I just wanted the whole thing to end and go home. One time Kenneth Branagh had the brilliant idea of staging all four of the great Chekhov plays in rep with a single company. Sadly it never happened but Lopakhin/Varya would of course have been played by the same actors as Astrov/Sonya in Uncle Vanya - many parallels. I might (might!) go see another production next time, so I have something to compare but got to say, I much prefer Uncle Vanya to this one. The Seagull (the Jamie LLoyd one) left me cold. Three sisters, I only saw the NT production which was relocated to Nigeria and I quite liked that one. So far I like the Cherry Orchard the least of the 4. |
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Post by theatrelover123 on May 18, 2024 15:24:29 GMT
One time Kenneth Branagh had the brilliant idea of staging all four of the great Chekhov plays in rep with a single company. Sadly it never happened but Lopakhin/Varya would of course have been played by the same actors as Astrov/Sonya in Uncle Vanya - many parallels. I might (might!) go see another production next time, so I have something to compare but got to say, I much prefer Uncle Vanya to this one. The Seagull (the Jamie LLoyd one) left me cold. Three sisters, I only saw the NT production which was relocated to Nigeria and I quite liked that one. So far I like the Cherry Orchard the least of the 4. They are all pretty much the same play  |
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Post by bordeaux on May 18, 2024 16:50:03 GMT
It sounds like the sort of production which you leave despairing at the thought that you'll never see straightforward excellently acted, excellently directed production of a classic play again, that everything requires some sort of gimmick or directorial twist. And then something as brilliant as Trevor Nunn's Vanya comes along. Amongst other directors who can be relied on for excellence - does Sam Mendes do classics these days? He's directed The Cherry Orchard twice and Uncle Vanya but not, as far as I am aware, The Seagull or Three Sisters. I'm sure he'd do a good job. Am I correct in thinking that Nicholas Hytner has never directed Chekhov? It's an interesting omission in career as brilliant as his; mind you he was late to Shaw and Ibsen too. I'm sure he'd be an excellent director of Chekhov.
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Post by Jan on May 18, 2024 17:06:09 GMT
It sounds like the sort of production which you leave despairing at the thought that you'll never see straightforward excellently acted, excellently directed production of a classic play again, that everything requires some sort of gimmick or directorial twist. And then something as brilliant as Trevor Nunn's Vanya comes along. Amongst other directors who can be relied on for excellence - does Sam Mendes do classics these days? He's directed The Cherry Orchard twice and Uncle Vanya but not, as far as I am aware, The Seagull or Three Sisters. I'm sure he'd do a good job. Am I correct in thinking that Nicholas Hytner has never directed Chekhov? It's an interesting omission in career as brilliant as his; mind you he was late to Shaw and Ibsen too. I'm sure he'd be an excellent director of Chekhov. When Michael Grandage ran the Donmar (better than any who came after him) his own productions were “straightforward” but his genius was is casting exactly the right actors (his Wild Duck for example). Not sure if he’s directed Chekhov either. I’m not really looking for “straightforward”, just something that illuminates the text - Robert Icke’s Uncle Vanya was updated and modern dress with actors stepping out and addressing the audience directly but all that served the text. |
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Post by helenfrombath on May 18, 2024 17:08:46 GMT
Thank you for explaining- I never would have guessed that Lopakhin and Varya are usually the central focus. I actually didn't get what Akhtar did/said to her at the end when she was laying on top of the carpet. But I had long since stopped caring at that point, I just wanted the whole thing to end and go home. One time Kenneth Branagh had the brilliant idea of staging all four of the great Chekhov plays in rep with a single company. Sadly it never happened but Lopakhin/Varya would of course have been played by the same actors as Astrov/Sonya in Uncle Vanya - many parallels. I am remembering that The National did three Chekhov plays in rep probably about eight years ago? I remember one was Seagull and the other was Ivanov I think? I can't remember the third one, although I suppose I could easily look it up. I remembering they did share the same set although elements were changed out for some scenes and I believe they shared a cast as well. It was an interesting idea. |
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Post by Jan on May 18, 2024 17:16:30 GMT
One time Kenneth Branagh had the brilliant idea of staging all four of the great Chekhov plays in rep with a single company. Sadly it never happened but Lopakhin/Varya would of course have been played by the same actors as Astrov/Sonya in Uncle Vanya - many parallels. I am remembering that The National did three Chekhov plays in rep probably about eight years ago? I remember one was Seagull and the other was Ivanov I think? I can't remember the third one, although I suppose I could easily look it up. I remembering they did share the same set although elements were changed out for some scenes and I believe they shared a cast as well. It was an interesting idea. Yes. Platonov, Ivanov and Seagull under the banner “Young Chekhov”. Directed by Jonathan Kent. It was a transfer to NT from Chichester. Seagull fitted with those earlier plays but fits with the later ones too because Arkadina and Konstantin appear again in disguise. I enjoyed those despite the involvement of Sir David Hare in the versions. |
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Post by lt on May 20, 2024 17:48:29 GMT
I think - aside from the criticisms I've already made - this is a particularly confusing production for those new to The Cherry Orchard. It really feels like a case of The Emperor's New Clothes to me. It's the only time I've left a theatre feeling duped, I actually wrote to the Donmar to complain about the production, I've never done that before for any other show in any other theatre. Did you ? Ha ha. Well done. Do let us know what (if anything) they say. I did wonder whether those new to the play would know who the characters were and what was going on. It was my 8th production of it so I just about knew but not necessarily from what was presented on stage. I did get an email back from the Donmar, saying that they encourage artists to look at classic plays afresh bringing out the contemporariness of their themes and that they hope that theatre can be mixture of both traditional productions and those that look to experiment. (They also acknowledged that not everyone liked this current production of The Cherry Orchard). I said - as I think I have said on this forum - that I am happy to watch a play in any style if it works. And I mentioned to the Donmar the recent Glass Menagerie production directed by Atri Banerjee, being an example of a modern interpretation that I thought was brilliant.
As I have expanded on before at some length, my frustration with certain people's attitudes to the current TCO is that if you dislike it you reveal yourself a cultural philistine unable to appreciate a sophisticated approach to theatre.
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Post by theatreliker on May 20, 2024 18:18:12 GMT
This had its moments but for much of it I thought it sucked the dramatic life out of the play.
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Post by nash16 on May 20, 2024 18:33:51 GMT
Did you ? Ha ha. Well done. Do let us know what (if anything) they say. I did wonder whether those new to the play would know who the characters were and what was going on. It was my 8th production of it so I just about knew but not necessarily from what was presented on stage. I did get an email back form the Donmar, saying that they encourage artists to look at classic plays afresh bringing out the contemporariness of their themes and that they hope that theatre can be mixture of both traditional productions and those that look to experiment. (They also acknowledged that not everyone liked this current production of The Cherry Orchard). I said - as I think I have said on this forum - that I am happy to watch a play in any style if it works. And I mentioned to the Donmar the recent Glass Menagerie production directed by Atri Banerjee, being an example of a modern interpretation that I thought was brilliant.
As I have expanded on before at some length, my frustration with certain people's attitudes to the current TCO is that if you dislike it you reveal yourself a cultural philistine unable to appreciate a sophisticated approach to theatre.
I’d love to speak to the people you’ve met with those attitudes. And ask them if they really REALLY did enjoy it? I felt angry watching: how this production massacred one of Chekhov’s masterpieces, and the view around me of people checking out from the show. As others have indicated, the complete lack of ANYTHING in the famous and heartbreaking (not in this production) Lopakhin/Varya relationship is indicative as they might say in an Oftsed report/discussion of our present government of the “completely inadequate” staging of this beautiful play. As I was watching the show, moment after moment was missed, and relationship after relationship reduced to nothing. But in the back of my head I thought maybe the Lopakhin/Varya unrequited love scene will at least be something and…it wasn’t. But then it never could have been in this production. For those who’ve never seen the play, I long that a better, actually respectful production comes along soon and you’re not too put off to visit it. And I don’t mean “traditional” necessarily. But one that presents these characters and situation as A.C. wrote. I say all this as a huge lover of Benedict Andrews’ THREE SISTERS at the Young Vic; the way he opened up that play to a modern sensibility. With his current TCO, it all felt like a bad party of individuals, with absolutely zero heart. (I’m not even going to start on the way they did the beggar…) |
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Post by prefab on May 20, 2024 22:00:54 GMT
I usually like radical reinterpretations of classic plays. And I liked the experimental Chekhov I saw (Jamie Lloyd's The Seagull) a lot more than the traditional Chekhov I saw (Trevor Nunn's Uncle Vanya). So I was prepared to love this. But I have to agree with the older couple who sat next to me for the first half, then left during the intermission: this feels like a student production.
The main way it feels like a student production is that, even though it has occassional good ideas, it has trouble distinguishing between its good creative ideas and its bad ones. And it has trouble figuring out how to fit the good ones into a coherent play. For instance, as a standalone scene, I loved the moment when a drunken Lopakhin was shouting over a crying Liubov about his ancestors being slaves on this estate. But a few minutes later, everyone was acting like it had never happened. The genius of Chekhov, when done right, is that all his characters (even the minor ones) seem to have rich inner lives. Here a few of the actors got flashy onstage moments, but they barely got the chance to develop coherent characters that I cared about.
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Post by lt on May 21, 2024 8:45:41 GMT
Hi BurlyBeaR could we please have a poll for The Cherry Orchard? Many thanks |
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Post by BurlyBeaR on May 21, 2024 9:37:14 GMT
Poll added 🍒
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Post by lt on May 21, 2024 9:46:49 GMT
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Post by alessia on May 21, 2024 9:56:28 GMT
I don't think I have ever given one star before
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Post by BurlyBeaR on May 21, 2024 10:20:08 GMT
I don't think I have ever given one star before Next stop; interval walk outs 🙂 |
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Post by jr on May 21, 2024 11:31:42 GMT
I don't think I have ever given one star before Next stop; interval walk outs 🙂 I will win that contest! Never stay for second half if not enjoying the first. It never gets better. |
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Post by prefab on May 21, 2024 11:39:38 GMT
Next stop; interval walk outs 🙂 I will win that contest! Never stay for second half if not enjoying the first. It never gets better. But this play actually got a lot better in the second half, IMO. At very least, the live musicians raised the energy level so that I wasn't falling asleep (whereas I was drifting off several times near the end of the first half). |
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Post by jr on May 21, 2024 11:47:08 GMT
I will win that contest! Never stay for second half if not enjoying the first. It never gets better. But this play actually got a lot better in the second half, IMO. At very least, the live musicians raised the energy level so that I wasn't falling asleep (whereas I was drifting off several times near the end of the first half). That's a low bar to set, not falling asleep. You'll probably be better off at home or having a meal somewhere 😉 I haven't seen this one though, was talking generally. |
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Post by lt on May 21, 2024 12:03:03 GMT
I will win that contest! Never stay for second half if not enjoying the first. It never gets better. But this play actually got a lot better in the second half, IMO. At very least, the live musicians raised the energy level so that I wasn't falling asleep (whereas I was drifting off several times near the end of the first half). Not for me. When I saw the cast coming on with musical instruments in the 2nd half, my spirits dropped even lower... |
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Post by alessia on May 21, 2024 12:08:24 GMT
I only once left at the interval (Player Kings) but just because it was too long, and I sat through 2 hours of it. My main reason (I know it's pathetic) for not leaving mid way through this one was that I was sitting near the actors and it would have been obvious to them. it must be very dispiriting to notice that from their pov.
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Post by kate8 on May 21, 2024 16:01:43 GMT
I only once left at the interval (Player Kings) but just because it was too long, and I sat through 2 hours of it. My main reason (I know it's pathetic) for not leaving mid way through this one was that I was sitting near the actors and it would have been obvious to them. it must be very dispiriting to notice that from their pov. I was in the circle and noticed a few people with standing tickets were moved downstairs at the end of the interval, to fill spaces left by some non-returners. One was next to Nina Hoss. |
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Post by nash16 on May 21, 2024 16:48:41 GMT
I only once left at the interval (Player Kings) but just because it was too long, and I sat through 2 hours of it. My main reason (I know it's pathetic) for not leaving mid way through this one was that I was sitting near the actors and it would have been obvious to them. it must be very dispiriting to notice that from their pov. I was in the circle and noticed a few people with standing tickets were moved downstairs at the end of the interval, to fill spaces left by some non-returners. One was next to Nina Hoss. When we went the elderly couple to Nina’s right upped and offed at the interval. That’s got to be disheartening, but also a barometer of real attitudes to the production. Re leaving shows at the interval: I never used to do it, then the first time I did it felt like being reborn, walking out into the night air…FREE! |
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Post by amybenson on May 21, 2024 23:25:51 GMT
I was mostly intrigued by the aesthetic , starting with the psychedelic carpet, and then some distinctly 90-s fashion, with the vivid colour palette of the early colour photography, specifically photos of pre-revolutionary Russia by Prokudin-Gorskii. Like, Varya's outfit seems to be more or less assembled from this picture:  |
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Post by Jan on May 22, 2024 5:20:45 GMT
I was mostly intrigued by the aesthetic , starting with the psychedelic carpet, and then some distinctly 90-s fashion, with the vivid colour palette of the early colour photography, specifically photos of pre-revolutionary Russia by Prokudin-Gorskii. Like, Varya's outfit seems to be more or less assembled from this picture: That is a good spot - although I'm familiar with those photos I didn't make the connection. In the Trevor Nunn Uncle Vanya the hair/beards of some of the men were based on pre-revolutionary photos including Astrov who looked like Chekhov himself. Here's another pre-revolutionary photo from 1912 by the author Leonid Andreyev (also looking a bit like Chekhov seated at the far corner of the table) which looks like every production of a Chekhov play there's ever been, except this one.  |
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