(5 / 5)
Gary Owen and Rachel O’Riordan’s radical reimagining of Chekhov’s classic masterfully transports the narrative of The Cherry Orchard from pre-revolutionary Russia to early 1980’s Britain at the outset of the Thatcher regime. The parallels of the two landscapes, both on the cusp of societal upheaval, provides an apt setting for Owen’s exploration of class equalities, guilt and grief.
At the beginning of the play we meet Rainey, returning to the family home in West Wales and the memories of the son that continue to haunt her. With no money left and the future of their home increasingly uncertain, could an agreement with former tenant Lewis save the property from impending auction?
The one set staging creates an intimacy and surprising relatability between the family and the audience which transcends class preconceptions through the sense of a shared space which we co-inhabit over the course of the 3 hours. The clever use of space enables us to effortlessly join Anya in the Orchard, envisage the view down to the shore and experience the poignancy of Rainey and Dottie’s moment in the grounds. The presence of Josef is hauntingly conjured throughout.
Whilst Richard Mylan and Alexandria Riley provide us with a great deal of the humour throughout, it is Riley’s Dottie who most poignantly captures the extent of the injustices that class inequality can create; for in a society where time is money, who is afforded the luxury of the time to grieve? Juxtaposed with just how detrimental this ‘indulgence’ has rendered Rainey – a decade of alcoholism and guilt – we are left to un-judgingly straddle the vast void between the extremities of each’s experience.
A powerful, thought-provoking piece and one not to be missed.
By Anton Chekhov
A re-imagining by Gary Owen
Director Rachel O’Riordan
Designer Kenny Miller
Lighting Designer Kevin Treacy
Composer and Sound Designer Simon Slater
Casting Director Kay Magson CDG
Get the Chance member Corrine Cox.
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