8 / 10
Gorky’s script has been given an idiosyncratic and often ribald updating by siblings Nina Raine and Moses Raine that will be divisive but which I found hugely entertaining. A play about inaction brings its own problems, however: as domestic spats and doomed flirtations play out, you wait in vain for something significant to happen. Perhaps it’s best to approach Summerfolk as a mood.
10 / 10
Modern phrases such as “number crunching” are scattered here and there. As with the translation that Nick Dear provided for Nunn a quarter of a century ago, there’s a fair amount of swearing but it’s never gratuitous. Gorky directed his ire at what he saw as the fecklessness of the middle classes, yet given what we now know about the brutal system that was about to sweep them away, it’s hard to pass judgment on them. And the moments when they talk about the sense of rootlessness that haunts them even after they have risen in the world are almost unbearably poignant. This is a play that blends laughter with tears.
It’s a hot, beautiful summer in 1905, and Russia’s elite retreat to the countryside to swim, sip champagne and start affairs. When they’re having this much fun, why care about anything else? But Varvara just can’t shake the feeling that their holiday idyll is built on borrowed time. As the party continues, how long can they ignore the storm on the horizon?
Splendid new adaptation of a play that can be seen as a respectful response to The Cherry Orchard
The National Theatre has released photos of Nina Raine and Moses Raine’s new version of Maxim Gorky’s Summerfolk, a razor-sharp portrait of class, privilege and denial.
The National Theatre has released rehearsal images for Nina Raine and Moses Raine’s new version of Maxim Gorky’s Summerfolk, a razor-sharp portrait of class, privilege and denial. Check out the photos here!
