Review: THE CHERRY ORCHARD, Starring Kenneth Branagh, Royal Shakespeare Theatre
The show also stars Helen Hunt and Bill Pullman
Kenneth Branagh triumphs as rags to riches Lopakhin in Laura Wade's fresh rendering of Anton Chekhov's The Cherry Orchard. Part of a star-studded Royal Shakespeare Company cast, including Helen Hunt and Bill Pullman, he gives a multifaceted portrait of a serf's son who ultimately wins what he wants – but at great cost.
Branagh's exasperated Lopakhin rages at his treatment as a member of an under-class who's trying to display his hard acquired business acumen. No one listens to him or takes him seriously. Today, he would be a Danny Dyer-esque nouveau riche figure mocked by his monster Hummer, gold iPhone and £5,000 luxury gym membership.
Photo credit: Johan Persson
Branagh adopts his native Northern Irish accent for the part. Surprisingly, it works wonderfully. The whole thing with different accents – Amber Gadd's housemaid Dunyasha also has an Irish brogue, while Hunt and Pullman stick to American pronunciations – is a bit baffling at first, but we get used to it. Accent is such a strong class signifier here in the UK, where we've been accustomed to posh people speaking RP (Received Pronunciation) and poor folk communicating in Cockney slang.
As striking as Branagh is, he's still very much part of a cohesive company effort (something the RSC does well) in the intimate Swan Theatre at Stratford-upon-Avon. Seating only 450 and with a thrust stage, we are close to the actors and believe we're actually inside Madame Ranyevskaya's crumbling house, with her beloved cherry orchard up for auction so she can settle her debts.
Photo credit: Johan Persson
It's a daring decision of Wade and director Tamara Harvey – who've collaborated on The Constant Wife (RSC) and Home, I'm Darling (National Theatre) – to emphasise the comedic elements of the play. To be fair Chekhov described his plays as comedies, but now that we're aware of the weight of history embedded in his works, we tend to dwell on the tragedy.
The lively japes and farce are entertaining in this energetic and well-blocked production. Bill Pullman gives us a hilarious, bumbling Gaev (Ranyevskaya's brother); and Andy Rush portrays the hopeless clerk Yepikhodov, with squeaking boots – both examples of how Wade offers a new, witty way to examine The Cherry Orchard. However, the action could have settled a bit more at times to allow us to reflect further on the devastation caused by careless aristocrats.
Hunt's dignified as an imperial landowner returning to her estate after a five-year absence, in denial that she needs to sell everything and move on. Chekhov wrote his final play, The Cherry Orchard, in 1903 when the Russian aristocracy was on the edge of collapse. But layers of this upper-class loss and Ranyevskaya's dazzling attractiveness to men are somewhat subdued in Hunt's performance.
Photo credit: Johan Persson
Esther Smith is compelling as unfulfilled Varya, whose only escape appears to be marriage to Lopakhin. Smith's ability to tap into Varya's frustrations is second to none. It's heartbreaking watching her desolation in a final scene with Lopakhin, who seems oblivious to her yearnings, and also to her precarious predicament as a single woman. This scene is reflected in Julian Moore-Cook's role as Yasha, who behaves cruelly when casting off a spirited Dunyasha.
Photo credit: Johan Persson
Chumisa Dornford-May as Ranyevskaya's daughter Anya is stunning and Alfred Enoch's eternal student Trofimov, with his radical views, is the only one who seems vaguely content. Just like the elite don't listen to Lopakhin, they don't take heed of Trofimov's words either.
Meanwhile, those in supposed lesser roles provide many highlights. Guy Henry as depressed Pishchik, with great comedic timing, is brilliant; and Sophie Stone's governess Sharlotta amuses the party with her magic tricks, while later hysterically conveying her fear of loneliness.
Michael Elwyn tenderly captures the physicality and poignancy of elderly servant Firs, ultimately abandoned by a family he cared for and believed cared for him. "All my life in this house and where's it got me?"
Photo credit: Johan Persson
As ever, the RSC doesn't stint on music with four excellent musicians playing live. Set and Costume Designer Anna Fleischle's uncluttered set of distressed furniture and bare, minimalist trees evokes a time of transition.
Lighting is soft and the shadows of cherry tree branches on walls blend beautifully with ominous chopping and falling sound effects from sound designer Claire Windsor. For all the sadness there's a hint of hope at the end with the family and hangers-on accepting their inevitable departure.
The Royal Shakespeare Company's The Cherry Orchard at the Swan Theatre in Stratford-upon-Avon runs until August 29.
Photo credits: Johan Persson
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