A review by Rita O'Donoghue for EXTRA! EXTRA!

In the 1950's Hollywood classic Some Like it Hot, Marilyn Monroe's character, Sugar Kane wishes to perform a monologue from Chekhov's The Cherry Orchard. Her manager swiftly squashes the idea. Indeed Chekhov's play suffered similar dismissal from some critics (albeit no critic presumably as glamorous as Ms. Monroe) when first staged by the Moscow Art Theatre in 1904, under the direction of Constantin Stanislavsky. Chekhov himself described The Cherry Orchard as "not a drama but a comedy, in places almost a farce." The Moscow Art Theatre production was very much directed by Stanislavsky as a tragedy. So here in lies the difficulty for the audience: are we to laugh or cry? This major question is something every director and production must contend with.

Chekhov's play is set in Russia in the 19th Century. The play revolves around the return of our female protagonist Ranyevskaya and her entourage from Paris. She is reunited with her family and her former retainers and they begin to address the task of selling her ancestral home due to mounting debts. The decision to sell is a difficult one for Ranyevskaya, not least because of the beautiful and famed cherry orchard on her land, and she spends the duration of the play indulging in willful procrastination concerning the sale. Themes of loss and change are explored as the audience is immersed in the heartbreaking realities of a 19th Century Russia in transition, during a period of time that would become known as the "great dress rehearsal" for the revolution of 1917.

Grey Swan, in partnership with the White Bear Theatre are attempting to explore a "new and poetic literal adaptation" of Chekhov's seminal piece - a challenge to set indeed! Directed by Timothy Stubbs Hughes, with a new literal translation by Patrick Miles, this genre- bending play becomes a tragedy with a dash of comedy on the side. Boosted by a genuinely exciting cast the production illuminates the struggle born from the loss of an ancestral home, in essence a tragic subject.

Maggie Robson playing Ranyevskaya, the axis around which everything revolves, has an emotional range that can be truly appreciated in the intimate setting offered by the White Bear Theatre. Her performance is at once powerful yet vulnerable and she is masterful in her projection of the willful ignorance and frantic procrastination of her character. Dan Paton plays Trofimov the eternal student, whose idealism, intellectualism and belief in truth over love acts as a contrast to Ranyevskaya's sometimes hysteric musings on beauty and the past. Paton is a wonderful talent and his commitment to his character is at times simply astounding - he inhabits Trofimov and relishes in the weighty and unequivocal ideological discussion in the play. The Cherry Orchard signifies contrasting metaphors for these characters - for Ranyeveskaay it represents fame and beauty and for Trofimov it represents repression and lingers as a ghostly reminder of Russia's oppressive past. There is a wonderful scene between Paton and Robson in the production where we see the collision of both these prevailing personalities; it is perhaps one of the most commanding and poignantly acted scenes in the production. Also worthy of mention is Katerina Stearman who brings a charm to the acerbic Varya. Often in emotional turmoil while on stage, Katerina manages to bring a level of control to her performance that is highly impressive for her first theatre production since her training.

This production is delivered as a tragedy. Although there are laughs to be had, perhaps the comedy intended by Chekhov is simply lost in translation, as the nuances of Russian speech cannot be replicated in English and therefore although despite the laughs, the genre of tragedy prevails. While some viewers might find the production too seeped in pathos, albeit, with comic relief provided by the eccentric ramblings of the faithful retainer Firs, (played by an effective Donal Cox), for the most part the inherent sorrow in the play is measured and never overwhelms.

The set designed by Gabriela Restelli is at once both old and new. Antique sparse furnishings together with a contrasting bold black and white painted floor, echo the symbolic elements of the play - the passing of an old way of life and the birth of a new. The ghostly white trees seen on the background wall, a fixed piece of the set throughout the play act as a constant reminder of the production's off stage character, the cherry orchard, while reminding the audience of the themes of memories and the inevitability of change.

While there is a danger that a production of The Cherry Orchard might become too slow paced, the invigorating performances of the cast make for an engaging experience. Each character in the production is truly embodied by the cast and there is a sincerity and authenticity to their speech and movements. Surely such cohesive performances must be to the credit of focused direction. Timothy Stubbs Hughes' direction is ultimately effective and his control, vision and authority is clearly felt in this production. In essence, his direction leaves room for imagination. It has been said Chekhov was in opposition to the concept of an artist as a puppet of social change.

So too this production leaves space for thought - it engages the audience and encourages them to participate, understanding the inevitability of change, yet questioning the consequences of what may come next. Many may find this production an exhilarating adaptation, as its' subtle but powerful performances combined with fluid direction make for an authentically Chekovian production. A great night out in a great venue.