'The Cherry Orchard' at The National Theatre

Earlier in the week we went to see the new production of 'The Cherry Orchard' at The National Theatre with Zoe Wanamaker. As well as being a new production, it's also a new translation of the Chekhov play, updating the language.

I've not seen the play before but I was soon familiar with some of the themes that are common in Russian literature, about how the land belongs to the peasants, the rich will be swept away come the revolution, etc. Chekhov was closer than most to his predictions coming true since this play was first performed in 1904 and the revolution came not long after. It's the tale of the landed gentry in their twilight, debts mounting and no sources of income without some radical thinking which they're not capable of, they must hang onto the past at all costs, even if it means losing their home and land. And they do. And worst of all, they lose it to an upstart peasant who wants to be one of them but can't be accepted on an equal footing. Of course, there's a lot more going on in the play, but that gives you the gist.

Zoe Wanamaker plays the grand lady who's been living a dissolute life in Paris for the last ten years and squandered her fortune, nothing left except her family home in the cherry orchard in a rural part of Russia. The play opens with her arrival with her daughter who went to seek her out and bring her home. We meet the peasant-made-good who worships her, her brother who lives in a world of his own, her other daughter who has kept the house going despite financial hardships and a range of friends and hangers on. There are old happinesses and tragedies to face, not least of which is that the mortgage on the house and orchard is due to be paid and no-one (except the former-peasant) has any money. Yes, you can see where this is going.

I liked this production, it floated along nicely, well-paced and with something to say that's worth listening to and thinking about afterwards. The overly-long student speech at the end of the first half about how the revolution will sweep everything away before it could have been cut by about 10 minutes (or more) since it doesn't really add anything for a 21st Century audience and just droned on. And on.

The lead was taken by Zoe Wanamaker with Conleth Hill as the upstart peasant who worships her. Unfortunately, both in appearance and in some of his vocal mannerisms, Conleth just reminded me of his namesake, Benny Hill and I sort of expected a trio of busty blonds to appear at any moment to chase him round the stage. I also liked Claudie Blakely as the daughter who stays at home to manage somehow and who is secretly in love with the peasant. She has a poignant scene with him at the end in which neither can express their love and end up going their separate ways. That was quite a heart-breaking scene.

If you get the chance, go and see it.