THE CHERRY ORCHARD (2024)

By Diana Simmonds

August 12 2024

THE CHERRY ORCHARD, Secret House at the Old Fitz, 8-24 August 2024. Photography by Braiden Toko: above - Charles Mayer and Deborah Galanos, with Amelia Parsonson and James Smithers; below - Parsonson, Jane Angharad, and Talia Benatar; below again - Angharad and Dorje Swallow

This adaptation of Anton Chekhov’s The Cherry Orchard is set not in the twilight of Imperial Russia, but in April 1982, as Margaret Thatcher’s re-election campaign sent Britain to war with Argentina over the Falklands Islands. Her “Gotcha!” victory was, of course, repeated at the ballot box as her ideology of selfishness ripped across the country fuelled by nationalistic triumphalism.

However, so obsessed is the play’s family with their orchard – saving it and its crumbling mansion from the bank – that, aside from the surprise news of Thatcher’s military adventure (breathlessly announced by chinless wonder and master of entitlement, Gabriel – Charles Mayer), it doesn’t hold their attention for even a minute. Instead, it’s another of her policies that becomes the focus. Her selling off of public housing to tenants created a sub-class of instant Tories – and the ghastly yet financially appealing idea of building houses on the orchard site is an extension of that scheme.

The play is set on the Pembrokeshire coast, where in 2017 Welsh playwright Gary Owen “reimagined” Chekhov’s run-down estate as an apple orchard. Like the original, it’s the centre of a family’s attempts to save themselves from the banks despite elder daughter Valerie’s (Jane Angharad) struggle to keep the place afloat. And the exasperated efforts of housekeeper Dottie (Talia Benatar) to keep up with all demands and orders.

The housing development is mooted by Lewis (Dorje Swallow), whose construction company will do the build. And although he doesn’t emphasise it, finally evicting the family that had evicted his grandfather in favour of the orchard is an unspoken plus; his apparent affection for Valerie notwithstanding. And whatever it is between Anya and professional student Ceri (James Smithers) is possibly not as important to him as being an anarcho-syndicalist and getting a grant to start a record label.

With all this Chekhovian nothingness happening, Valerie and her younger sister Anya (Amelia Parsonson) summon their wayward mother Rainey (Deborah Galanos) back from her sybaritic London life to sign the sale contract. From the moment she appears, the worse for wear and demanding even more vodka or wine, Galanos is an electrifying presence. Owen’s radical reworking is rich in acid-dipped quips and sly comedy, and Galanos is brilliant with it all. Nevertheless, the lifelong sorrow that underpins Rainey’s descent into the bottle is close to the surface. She is three-dimensional and grounded in depth and pathos – a heartrending and hilarious performance.

There isn’t a weak link in the company, however, each actor is deeply and plausibly into their roles. And Anthony Skuse’s subtle, educated direction keeps the audience enthralled through two hours and 40 minutes (including interval). Whoever decided to drop The Stranglers’ 1982 hit Golden Brown into the mix (Johnny Yang is credited as composer and sound designer) further enhances the re-situating of the Russian classic by casually underlining sensuality and melancholy in a time of social unrest and division. The latter is also highlighted by the Welsh voices of the locals and the Oxford plum of Rainey and her gels. (Yet more fine work from voice coach Linda Nicholls-Gidley.) As well as delivering comically supercilious far-left politics, James Smithers also designed the set: a mix of rich and poor and Laura Ashley dowdy country comfort, with apposite lighting by still-at-NIDA (!) Topaz Marlay-Cole.

The current duo of reimagined Chekhov (with Uncle Vanya at the Ensemble) is a unique opportunity to savour wonderful theatre. There is some urgency to catch The Cherry Orchard, however, as the season is shockingly short (check the dates above). Recommended without reservation and with much pleasure.