Tag Archives: Chekhov

Three Sisters

Almeida Theatre, London ****
Runs: 2hr 55 with one interval
Review of perf seen April 19, 2019:

© Marc Brenner, Patsy Ferran (Olga), Pearl Chanda (Masha), Ria Zmitrowicz (Irina) - on a journey to acceptance and stoicism...wonderful trio.

© Marc Brenner, Patsy Ferran (Olga), Pearl Chanda (Masha), Ria Zmitrowicz (Irina) – on a journey to acceptance and stoicism…wonderful trio.

Whichever way you cut it, Chekhov’s Three Sisters is about loss, mounting loss and how to cope with it.

But then, you might adapt that to Chekhov’s two other mighty tragedies, Uncle Vanya and eminently The Cherry OrchardContinue reading

The Cherry Orchard

Arcola Theatre, London (****)

© Robert Workman, Sian Thomas (Mme Ranevsky), Jude Akuwudike (Lopakhin)

© Robert Workman, Sian Thomas (Mme Ranevsky), Jude Akuwudike (Lopakhin)

Terrific Revolution season, Mehmet Ergen has put together at the Arcola. Along with Gorki’s The Lower Depths, a howl of distress from the underbelly of society now sits Chekhov’s The Cherry Orchard, whilst Oladipo Agboluaje’s New Nigerians brings us up to date, almost, in the Studio with his African voice. Continue reading

Young Chekhov (the Birth of a Genius)

Chichester Festival Theatres (**** overall, *** The Seagull)

© Johan Persson

© Johan Persson

How do you like your Chekhov? Do you even like Chekhov? Is he sacrosanct or ripe for parody and rehashing? Lord knows he’s been taken apart over the years, re-constructed (famously the American avant garde Wooster Group with Brace Up!, their deconstructed version of Chekhov’s Three Sisters) and put back together again. Like Shakespeare, debates rage around his texts, none more so than the early play of Platonov (pronounced with the emphasis on the second syllable apparently) and Ivanov, the latter his first full length play and typically not a success on its first showing. Continue reading

Three Days in the Country

Lyttelton, National Theatre

© Mark Douet

© Mark Douet

Turgenev’s A Month in the Country has certainly been through the mill with numerous `adaptations’ and a famously lush ballet choreographed in the 1970s by Sir Frederick Ashton starring the extraordinary and unique Lynn Seymour with Anthony Dowell. Dorothy Tutin also made the part of Natalya, the restless, unhappy wife of a rich Russian landowner who falls for her son’s tutor, incomparably her own, also in the Seventies. Continue reading