With little attachment to the text, Naima Khan enjoys the frankness of Andrew Upton's version of The Cherry Orchard at National Theatre, Olivier.
Classics don't always have a place in London theatre. Some stories do get old and some writers are long-winded. That's why we need the likes of Andrew Upton to create new versions of classic texts that retain everything we love about the characters, but presents them in a way that doesn't let us forget the relevance. And Chekhov's The Cherry Orchard is made unforgettably relevant in this version, but Upton takes some bold risks that won't go down well with those who have a sentimental attachment to the grandeur of Chekhov's text, or the setting.
In a daring move he changes the tone of the play and strips away much of its poetry. The emphasis is on pragmatism at a time of social and financial change and there's little room for mourning or romanticism. The story follows a formerly aristocratic family in financial ruin, faced with the impending auction of their land. The emotional matriarch Ranevskaya is urged to subdivide and sell, but she meets all suggestions with stubbornness and an overwhelming sentimental attachment to the property.
As Ranevskaya, Zoe Wannamaker's moments of emotional resilience are striking. Her astute approach to a mother who is far more insightful than we first think is spot on. She wonders whether selling her home means selling herself, and her assessment of her own need for an identity is compellingly frank. But her language is much more snappy than you might expect. In these instances, the play loses some of its beauty but gains humour and a bluntness that can be refreshing. Be prepared for much talk of things that are “crap”, “rank” and “retarded” in this version of the classic.
Surprisingly however, the altered script hasn't succeeded in curbing Chekhov's long existential rants or making them any more engaging. The family sit in silence listening to the student Pyotr's ideas on love and life, but there's more presentation of the ideas and less discussion of them. This only makes the bluntness of before seem wasted and adds unnecessarily to the three-hour running time.
Some balance is provided by Uncle Leonid, whose affectionate ramblings make his nieces laugh, and when the other characters engage, it makes us want to as well. But he, like the romance and sentiment, is presented as a bit foolish. The maid Danyasha's childish infatuation with Yasha the footman is the most obvious example of this, as she runs after him every chance she gets in the huge run-down house.
Bunny Christie's design aptly evokes a home that has outgrown its owners, but the beauty of the orchard is only ever eluded to. Thankfuly, Neil Austin's atmospheric lighting gives us an idea of its warmth and draw.
If you have an attachment to Chekhov's writing, you may be sorely disappointed with this production, but if you're ready for something fresher and far more pragmatic, Upton's version will bring a new sense of social and financial evolution, albeit a less poetic one.
The Cherry Orchard runs at National Theatre, Olivier until 28th July.
Image by Catherine Ashdown
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