Cherry Orchard Review – Kristin Scott Thomas Builds a Modern Matriarch in Chekhov's Traditional, Earthy Setting

Harold Pinter Theatre, London: Ranevskaya speaks to our times, but Conor McPherson's straightforward adaptation, starring Stephen Mangan, does not always move you emotionally. This extravagant Russian landowner, who returned to her beloved estate and cherry orchard, was memorably played in 2024 by Nina Hoss and this summer by Helen Hunt. Now here is Kristin Scott Thomas, who brings a harsh modernity that

In recent times, several Madame Ranevskaya have been stars. Returning to his beloved estate and cherry orchard, the philandering Russian landowner was memorably played by Nina Hoss in 2024 and Helen Hunt this summer. Now here's Christian Scott Thomas, bringing the gritty modernity you believe in. Despite references to tenements and peasants, she feels of our time and could be a middle-class Chelsea mother or a minister's wife wallowing in regret and an unfulfilled life.

Ian Rixon's beautiful direction uses a simple adaptation by Conor McPherson. The pair have had previous form with Chekhov since six years ago, when they brought an excellent version of Uncle Vanya to the West End. It's also beautiful and charming, Chloe Lampford's crumbling living room set design has wet patches and faded majesty.

Despite the modernity of Scott Thomas, the production itself has a traditional feel. Chekhov called his last play a comedy, although it was later described as tragic like his other dramas, and McPherson remains true to that original vision. There's a lot of humor here, albeit with moments of sadness, and the script is adept at drawing out the ridiculousness of this titular aristocratic set. There is also an earthy and insulting frankness in the way the characters speak.

Scott Thomas wears emotional armor as the matriarch. Her performance is full of subtle inflections, anxiously biting her nails, flashing a smile and warmth when necessary. As she talks about the death of her young son who drowned in the estate's lake, you see her guilt and grief quickly masked.

Stephen Mangan plays Lopakhin, a serf's son who is still in awe of the milky-eyed Ranovskaya, portraying her character's social standing. Despite being a self-made businessman, he is aware of his low value in the eyes of this family. He glances nervously at Ranovskaia, who ignores her presence when he first arrives, always remaining an overgrown schoolboy and intimidated in the face of this family. It's an interestingly weak interpretation, though it's only half-convincing.

The small, absurd setting works well, with endless banter, funny moments, and an atmosphere of boredom. The guitar is also played by the secretary Yepikhdov (Shubham Saraf). Peter White brings some glorious comedy as Gaff, Ranovskaia's brother, and Ruby Bentall is strong as the German warden, Charlotte.

The actors, as an ensemble, work well together, each in their own world, yet looking out for the other. But some edges are softened, like the fiery student and would-be revolutionary Trofimov (Jack Riddiford). You don't feel sorry for the entire series and the drama never ventures into dark or sad territory. The scene where the family confronts the beggar farmer definitely confirms their right to be cold and you register. Their sense of infringement as this stark outside reality enters their airbrushed world, but it doesn't hit you emotionally.

However, there are other touching moments, including the story's biggest moment about the adopted daughter, Varya (Winnet Robinson), and her wait for Lupakhin to propose. Her yearning, by the end, is palpable, as is her disappointment when she bears the pain of her family's fall, along with his ascension. And when Ferris's servant (Carl Johnson) is left behind like a forgotten piece of furniture, you sense the carelessness with which Ranovskaya views those below her. It justifies the end to come for this old world order.