CHERRIES WITH A FEW PITS

Anton Chekhov’s final play, The Cherry Orchard, is a masterwork of dramatic irony. It was written in 1903 as a dark comedy but it was always more akin to a tragedy, especially with the original Stanislavski’s direction full of psychological realism and emotional truth. A new wild version, written & directed by Benedict Andrews, is now at St. Ann’s Warehouse in Brooklyn after a successful run in London at the Donmar Warehouse; I went a few days ago, and I am still thinking about it. Chekhov’s imprint was all there, same story, same delusional characters.

Nina Hoss and Sadie Soverall

Except for the chaotic staging that I found at times distracting and over the top, it is a remarkable production, a hectic, immersive, a collective experience: actors were always on stage, sitting and sometimes interacting with the audience; Merle Hensel’s costumes represented each character in all their Chekhovian quirks and depth although they were modern and playful; and Magda Willi covered the set in reddish carpeting from floor to ceiling to provide the warm feeling of a family room. There were no props (an audience member was referred to as a bookcase) and lights were kept on so the audience immediately felt part of the play, as intended by Andrews.

Karl Johnson and Marli Siu

Sarah Amankwah

The plot of the original work is deceptively simple: Lyuba Ranevskaya, a Russian noblewoman, returns to her family estate—that includes a majestic cherry orchard—after five years in Paris, and finds it in financial ruin, about to be auctioned. An unforgettable Nina Hoss is Lyuba, sitting the whole time on the edge of ruin, refusing to acknowledge it, clutching to her disappearing past, a deep tragic figure and Hoss was impeccable in the role. Her ability to alternate delusions, melancholy, and wishful thinking was outstanding.

Daniel Monks, Nina Hoss, and Posy Sterling

David Ganly and the ensemble

Adeel Akhtar is Lopakhin, the self-made man, the pragmatic wealthy merchant with a gorilla, not just a monkey, on his back. His father used to work as a slave for Lyuba’s family and he has done everything to escape the same destiny. His repeated attempts to convince everybody that cutting the orchard down to make space for dachas is Lyuba’s best option are as subtle as a bull in a china shop. Akhtar was terrific, intense, and completely unsympathetic in his green suit, moccasins, and expensive watch, the epitome of upward mobility.

Adeel Akhtar

Marli Siu

In Lyuba’s court, there are several delusional characters: her brother, Gaev, played by Michael Gould, is the king of theatrical gestures, unable to make decisions or do anything useful. Gould gave us an exquisite blend of comic finesse and underlying sadness, highlighting Gaev’s detachment from reality. ​Lyuba’s adoptive daughter Varya (Marli Siu) is the young underappreciated caretaker, more responsible than Anya (Sadie Soverall), her biological daughter, and the rest of the adults. ​Sarah Amankwah plays an eccentric, poetic Charlotta, the governess who is helped by Dunyasha (Posy Sterling), the clueless servant. Karl Johnson is a touching Firs, the aging servant who walks around mumbling about the old order of things while Pishchik (David Ganly), a landowner who is also going through tough times, prefers to continue the party, constantly badgering Lyuba for money between a drink and a dance.

Éanna Hardwicke

Éanna Hardwicke is Semyon, an inept accounting clerk with squeaky shoes and Sarah Slimani is Yasha, a hanger on; the only person representing the Russian Revolution is Trofimov (a moving, fervent Daniel Monks), the intellectual with all the answers and no courage. All the actors gave passionate performances although there was little balance on stage, as if we were witnessing a series of solos. Andrews’ approach put the full force of his directorial focus on the chaotic emotional side of each character, avoiding a more intimate, natural feel, which was needed at times. Andrews keeps it bright and harsh but sacrifices a low-end punch. If only it was a touch shorter, and the direction more harmonic and focused, it would have been perfect. Yet I still recommend it. This theatrical cherry may have a pit, but it’s definitely one-of-a-kind.

Adeel Akhtar and Nina Hoss

photos by Amir Hamja

The Cherry Orchard
Donmar Warehouse Production
St. Ann’s Warehouse, 45 Water St in Brooklyn (on the waterfront in Brooklyn Bridge Park)
2 hours 45 minutes with intermission
ends on April 27, 2025
for tickets, visit St. Anne’s Warehouse