The Cherry Orchard at the Stadsschouwburg Amsterdam review *****

The Cherry Orchard (De Kersentuin)

Internationaal Theater Amsterdam, Staddschouwburg Rabozaal, 20th June 2019

One of the world’s greatest theatre makers in Simon McBurney directing. Actors from probably the world’s greatest theatre company in the form of the ITA (previously Toneelgroep). An adaptation from Robert Icke no less with his Dutch equivalent Peter van Kraaij as dramaturg. Luminaries such as Miriam Buether as designer, Paula Constable on lighting, Pete Malkin on sound and video from Will Duke. All working on, what for me, is actually Chekhov’s best, and final, play The Cherry Orchard. I wasn’t going to miss this. And nor should you either in Amsterdam or in London as I wouldn’t be at all surprised if this pops up at the Barbican next year.

Brace yourself mind. Mr McBurney was never going to offer us samovars and birch trees. Nor just a bitter-sweet, tragi-comedy focussed on text and character. He treats Chekhov in the same way as he has treated Brecht or opera. Whilst this may be his debut with the ITA he has illustrious past form at the Holland Festival, of which this production is a part, with productions of Stravinsky’s A Rake’s Progress and the joint Dutch National Opera/ENO Magic Flute, as well as Bulgakov’s Master and Margarita.

The Cherry Orchard offers a portrait of an impoverished landowning family and their retinue, forced to sell their beloved cherry orchard to pay their debts. Their world is changing. Serfdom, following the 1861 emancipation reform, has disappeared. The proletariat is set to overturn their masters who have failed to modernise economy and society. A new, moneyed middle class bourgeoise has emerged. The context should provide an atmosphere of impending doom and a kind of warped nostalgia against which the individual relationships between the characters can be explored. Mr McB’s modern-dress, kinetic interpretation, (we are in 1970’s Holland as the optimism of the 1960’s have given way to economic crisis and political unrest I assume), maybe plays this down a little but the insight this affords into the individual psyches of the characters, the futility of their existence, and the subversions of their class, more than compensates. This is a long way from naturalistic, and I suspect may not have been everyone’s glass of genever; indeed I overheard one very irate middle-aged British couple bailing out at the interval.

Chekhov productions, and especially The Cherry Orchard with its twelve main parts, all of which have plenty to say, can take a little while to gain momentum. Not here. Mind you, that in part reflects the power of this company which, emotionally and physically, never holds back. Bouts of intense activity are followed by periods of listlessness and ennui, reflecting the gap between the lofty intentions of these people and their lived indifference. Most of the action is focussed on a relatively constrained, dramatically lit plinth in the front centre of the wide Rabozaal stage upstairs in the Staadschouwburg. This functions as nursery in Acts I and IV, (there is a little doll’s house to make the point), but with no walls or doors, though a bold sound design simulated the slamming of doors and heavy footsteps, and as the garden in Act II. For the Act III party, here a pretty racy affair, with Hendrix and the Velvet Underground as soundtrack, the rest of the stage was utilised. The beloved orchard appeared only in video projection, alongside the Paris that the family has left and, to highlight the theme of ecological catastrophe that the perpetual student and would be revolutionary Trofimov (Majd Mardo) declaims, a nuclear power station.

Chris Nietveld’s world weary Madame Ranevskaya, here just Amanda, seeks attention but it is, deliberately, Gijs Scholten van Aschat’s Lopakhin, here Steve, who is the focus of attention. He takes no pleasure in buying the estate from the family, in fact their inability to grasp their fates just makes him miserable. These two, as I know from previous ITA productions, simply cannot help but draw the eye, but I was also taken with Eva Heijnen’s feisty Anya, Janni Goslinga’s doleful Clara, Steven van Watermeulen’s wheedling Boris and Bart Seegers’ doltish Leopold.

Maybe all this sharpened imagery and performance takes away from the sense of a past in snapshot that other productions have described. And some scenes teeter towards farce though to be far this only reflects AC’s voiced intention. Mind you he said that in response to the super gloomy opening night in 1904. There is an improvisatory quality to proceedings to set alongside the technical barrage which I can see would wind a lot of punters up. And it got a bit of a pasting from the Dutch press.

Me though, I loved it.

The Unreturning at Theatre Royal Stratford East review *****

The Unreturning

Theatre Royal Stratford East, 24th January 2019

Denizens of Leicester, Swansea and Oxford. Consider yourself lucky. There is still time for you to catch the tour of Frantic Assembly’s The Unreturning which has already travelled to Plymouth, (the Theatre Royal who cannily commissioned it), Southampton, Edinburgh, Liverpool, Birmingham and Chichester, as well as Stratford East. For make no mistake this is a fine piece of theatre that deserves your attention for a number of very good reasons.

First off Anna Jordan is clearly a very talented playwright. I haven’t seen Yen, her much lauded breakthrough play, though on the strength of this I really hope it is revived soon. I am though looking forward to what she brings to Brecht’s Mother Courage which she has adapted and which has just opened at the Royal Exchange Manchester.

In The Unreturning she has interwoven the stories of George, Frankie and Nat, who return to their home town of Scarborough, damaged from their experience of war. In 1918 George is shellshocked after his experiences in the trenches in WWI and his wife Rose cannot cope with his breakdown; in 2013 disgraced Frankie is not welcomed back as a hero from his turn in Iraq and cannot put a lid on his anger; and Nat is stricken by guilt about the brother Finn he left behind after escaping as a refugee to Norway in 2026 from a future British civil war. Scarborough may be home but they are not welcome. Time may move on but the issues the returning combatants face remain the same.

This is no naturalistic drama however as Ms Jordan has created a far more episodic and lyrical structure for drama and text. That is not to say that the narrative does not quickly come into focus. The three opening monologues which together form a prologue, describe what each of the three protagonists are aching to experience when they come home, and that, together with the experiences they bring back with them (which go well beyond the simple “war is hell”), forms the nub of the play. In each case the multiple characters that Ms Jordan also introduces, as well as the prudent use of a chorus, serve to flesh out the personal histories and create real drama. The chorus, as well as further monologues, also n’tbring real poetry to contrast with the dialogue of each short scene.

As if that was enough, Frantic Assembly’s trademark physicality also brings a further, thrilling, dimension.. At first glance, Andrzej Goulding’s set, a revolving (when pushed, no fancy technology at TRSE) shipping container, is hardly revolutionary, but when combined with his strikingg video design (for which he is more renowned), Zoe Spurr’s prominent lighting design and Pete Malkin’s bold electronic soundscapes, the effect is invigorating. Especially when combined with a four strong cast who are constantly in motion. It is difficult to believe that they play all twenty five named parts, in addition to the chorus, as well as shifting sets and props. An immense technical achievement, especially when I see no attributed movement director. Though as it happens the stock-in-trade of director here, Neil Bettles, who is a Frantic Assembly Associate Director, is movement.

Of course with this much activity it occasionally takes a second or two to work out exactly who is who in each scene though the reason for each of the supporting characters being there is plain enough to fathom. The cast. Jared Garfield (Frankie), Joe Layton (George), Jonnie Riordan (Nat) and Kieton Saunders-Brown (Finn), are all past alumni of Frantic Assembly’s Ignition project which each year supports twelve young men from across Britain from backgrounds which normally preclude access to drama education to create a performance over a week in London. Whilst all of them have gone on to successful TV and theatre careers they have come together to work on The Unreturning offering conclusive proof, if such where needed, of just how effective this venture has been. They are all tremendous, not just in the effort they put in, but in the way they tease out character from relatively few lines and from the ensemble effect they create. I would happily watch this team, with this creative team, in a future production. In fact I would watch them all again in an extended version of each of the three intertwining stories.

Regular readers of this blog will know that the Touris,t given that he loves his theatre, and, he contends, chooses wisely, is easily pleased. But you don’t have to take his word of it. The matinee performance he attended was chock-a-block with local schoolkids, the TRSE not having forgotten its local identity even as AD Nadia Fall looks to broaden its audience and create destination theatre (which this most certainly is). Always a discerning audience, there was the usual shuffling and tittering early doors but pretty soon these young’uns where as gripped as I was.

I see that the proper reviewers were generally not as overwhelmed as I was with many emphasising the triumph of technical style over dramatic substance. They are wrong. Yes it is a viscerally exciting piece, with a clear message, but it is also expertly constructed and beautifully written. I know we are only a couple of months in, and this is not quite the best play the Tourist has seen this year, that honour goes to Sweat at the Donmar, (now transferring to the Gielgud I see – do not miss), but I reckon it it will prove one of the most ambitious and memorable theatrical experiences of this or any other year.