“the performances are unrushed and powerfully moving”
From the very opening we realise that this is a ‘Cherry Orchard’ with a difference. As part of a series of classic plays relevant to today, Phil Willmott’s adaptation is set in 1917 amidst the Bolshevik uprising, the murder of the Tsar and the uncertain future of the middle classes; it is almost fast-forwarding to the consequences Chekhov hinted at when he wrote it in 1903. Ranyevskaya returns to Russia after five years in France and faces the prospect of having to sell her beloved family home to the son of a serf who had worked for them. To heighten the immediacy and urgency felt in modern Russia, features like music and magic have been left out, avoiding any slackening of pace, the compact stage area concentrates the action, and the outcome of the play fits the confusion of both then and now. To add to the unpredictability, the role of the elderly footman Fiers has been cut, due to a fall suffered by the actor, Robert Donald. ‘Cherry Orchard’ is a play which revolves around memories in times of change so Fiers’ absence means missing the richness of the most distant past but with it more focus on the present.
Far from the lofty grandeur of larger stages, Justin Williams and Jonny Rust cleverly create faded opulence with the simple use of stairs and significant props. The lighting by Sam Waddington dresses the changes of mood and atmosphere, and the music and sound (Theo Holloway) are imaginatively designed to both set the scene and underline key moments of drama, though the sinister rumbling of the overhead trains is presumably unplanned. Penn O’Gara’s attention to detail of the costumes adds dimension to the personalities.
The individuality and ensemble of the actors is perfectly crafted. Each one’s complexity interlocking with the others to bring an array of emotions. Suanne Braun and Richard Gibson are excellent as the aristocrat Ranyevskaya and her brother Gaev, instilling huge sympathy despite their superficial, frivolous lives. Lopakhin, played by Christopher Laishley, portrays the strength of the rising middle classes but painful awareness of his roots. Dunyasha (Molly Crookes) and Yasha (Hugo Nicholson) represent the servants, breaking away from the past constraints of their position with a confidence and ease in several entertaining scenes. Even the smaller role of Madame Pishchik (a male landowner in the original) played by Caroline Wildi, is a subtly uncomfortable presence on stage, as a further reminder of the plight of the rich. Daughter Anya and former tutor Trofimov (Lucy Menzies and Feliks Mathur) radiate the youthful optimism as the country trembles with uncertainty.
As Director, Phil Willmott succeeds in producing a disquieting ‘Cherry Orchard’, stepping away from the traditional, more static Chekhov and connecting with today’s social climate in Russia. Apart from a couple of instances where the tension is broken precipitately, the performances are unrushed and powerfully moving, maintaining the farcical tragedy. In keeping with element of the unforeseen, the intentional changes to the script combine with the unexpected loss of Fiers to make this a brave and intelligent production, deserving credit for reawakening a classic to new interpretation.
“a master class in casting: without exception, each actor has total command over the text”
It is hard to believe that ‘Heartbreak House’ was written almost a century ago. First performed in 1920 on the English stage, George Bernard Shaw’s text is permanently relevant, which is what makes it a ‘classic’. It is just as entertaining and pertinent as we approach the ‘twenties’ of the new millennium.
This pitch-black comedy is the first of the Union Theatre’s 2018 Essential Classics series, presented by the Phil Willmott Company, dedicated to topical productions in which issues tackled by great playwrights and composers of the past reflect on today’s world. George Bernard Shaw subtitled his work ‘A Fantasia in the Russian Manner on English Themes’. Ostensibly he is paying homage to Chekhov, though there are more nods towards Wilde or Ibsen here. Yet, in my mind, it surpasses both with its intrinsic sense of danger, intrigue and fascination.
From the outset we realise we are in for something special. Justin Williams’ and Jonny Rust’s set is a masterpiece in its own right. As a result, expectations are indeed raised, though it is safe to say that, under Phil Willmott’s direction, they are well and truly sustained throughout. This is a master class in casting: without exception, each actor has total command over the text. They handle the rhythm of Shaw’s dialogue with the skill of virtuoso musicians.
Hesione Hushabye is gathering the outrageously eccentric family of Captain Shotover together in their country house to save her young protégé, Ellie Dunn, from a marriage of convenience to an ageing industrialist. But the bride to be is not as naïve as she appears. In fact, all the characters are not quite what they seem. A heartbroken adolescent can instantly become a cynic on the prowl, a maternal confidante can also be a seductive hostess and emasculating wife, a philanderer can become a hero. These turns and twists of character are what keep us on our toes. James Horne, as Captain Shotover, gives a star performance, appearing at first to live without rhyme or reason, yet behind his ‘Spike Milligan’ eyes he manages to convince us that he is all too aware of what is going on under his roof. Helen Anker’s Hesione utterly bewitches as the witchy lady of the house, a stark contrast to her estranged sister, Lady Utterwood, a high-society prig played by Francesca Burgoyne who deliciously delivers her put downs with a lacerating wit.
It seems unfair, though space dictates it, to single out individual cast members. The entire troupe deserves a mention. This is that rare piece of theatre where, during the whole two hours, not once does one think that we are watching actors playing their part on a stage. They are the characters. And one really does care for them. Behind the razor sharp wit, the biting aphorisms and the cynicism, it is clear that each character does have a heart. This is testament to the performances, not just to the writing. The audience inhabits their world, albeit a world drifting towards disaster.
Shaw depicts a cultured leisured Europe before the war; the deceptions and meaningless pursuits of England’s ruling class, and the divide between rich and poor. Throw in the talk and fear of pending war – it might have easily been written about today’s world: “Is this England or a mad house?” asks one of the characters. Yes – there is an underlying message, even a warning, that George Bernard Shaw is drumming home. But he was acutely aware of the notion that the best way to get your message across is to entertain.
And, boy, are we entertained.
If this is a taste of what is to come throughout the season at the Union we are in for a treat.
