I love it when I can go see a production and learn a lot about the tribulation of humankind through the devices that the actors and production staff use to make those trials evident; especially when the trials could be avoided.
Anton Chekov's The Cherry Orchard is a brilliant story that examines a transitional time in the Russian class system where the Aristocratic class was struggling to maintain it's status after the abolition of serfdom caused a rise in the middle class. Although Chekov's portrayal of the main character, Lyubov Ranyevskaya, seems like a condemnation of this useless class of people, there is still a trace of compassion for what she was feeling as the plot unravels. The story follows an Aristocratic woman who returns to her estate with her family after years of being away, just before the estate and it's popular, albeit useless cherry orchard. In the end, a former serf of the estate, Yermolai Lopakhin who rises into the middle class, purchases the cherry orchard at the auction. How's that for symbolism?
This particular production was put on by a bunch of NYU alumni and current students who had previously done the show within the Tisch School of the Arts. The original production, directed by Michael Silverstone, was more experimental than this production, directed by Kelly Colburn. Although it was evident that the actors had already built and become comfortable within their characters before this particular production, it should be mentioned that definite changes and evolutions within their characters were made under the new direction. Also, the scene changes between acts were impeccably directed and interesting in that there was no blackout or curtain. One thing I have learned is that scene changes can be just as much a part of the show as anything that is scripted and happens on a stage flooded with lights. The scenic design by Walter Ryon should also be commended. Given such a small, blackbox space, each set piece needed to be functional and practical and that was very well accomplished. Four wooden boxes were constructed with fold-out sides that were laid out in a pattern to create an interior floor space. When it came time for Ranyevskaya and her family to vacate the estate, each box could be folded back up with the props and set decorations INSIDE the boxes for easy storage. Very clever and well-executed!
Lyubov Ranyevskaya was played by Julia Sherman who seemed to have a good grasp on the eccentric and unpredictable personality of her character. She played the role rather frantically, seeming to be in tears one moment, then happy in another, and then angry in yet another. She is easily the most popular character in the play for obvious reasons and should have solid relationships with all of the other characters as she is the reason they are all linked. Quite a hefty load for a young actress to bear, but she soldiered through it and made an impressive effort. Certainly the most interesting casting choice was that of Yermolai Lopakhin, a mercahnt who grew up as a serf on this estate and eventually became a very wealthy businessman, easily the wealthiest character in the play. Lopakhin was played by Alyssa Block. Yes, that's correct, cross-gendered casting and it was brilliant. Having grown up in the lowest rung of the class ladder, Lopakhin thoroughly enjoys living the high life which his ancestors knew nothing of, so it makes perfect sense for Lopakhin to be jovial and flamboyant at times. Casting a woman in this role really accentuated these characteristics, not to mention Block truly rose to the occasion and played a solid character with very confident actions. Kelsey Torstveit also stood out as Dunyasha, a housemaid who begs for attention by trying to dress like a lady and flirting with the manservants of the household. In all honesty, she was by far the funniest character in the show. Speaking of Dunyasha, that brings me to her romantic interest in Yasha. Yasha was is a manservant on the estate and is truly just an unlikeable character. He is not supposed to be liked and it is really hard for a lot of actors to realize that, but it is evident that Trevor Buteau fully realized it. Yasha is rude, inconsiderate and selfish, and a full representation of the new Russian generation who basically hated the old ways of Mother Russia. Buteau did a great job portraying all of these characteristics. Another actor I would like to mention that I was not sure about at first was Lauren LaRocca. She played Anya, Lyubov's 17-year-old daughter. My first impression during the production was that she was just a frivolous child who was frankly a bit arrogant in some of her actions throughout the play. However, upon reflecting about the piece later on, I realize that Anya was the strongest character in the show. The actions she played were deliberate displays of will power to try to save her family, especially her mother. To be 17 and to go to France to try to basically save her mother from the awful situation she was in is quite a feat; one that I think would easily harden a 17-year-old girl. Jason Silverman, Daniel Patrick Smith, Diana Egizi, Chris Dieman, William Vaughn, Annalie Gernert and Jon Fusco rounded out the cast.
I would like to thank the cast and production staff for allowing me to see the show not only once, but twice! It was a truly great production and you all should be proud of the work you are doing. I would also like to thank my good friend, and director of this production, Kelly Colburn for allowing me to take some photos of the production. There will be a photo call following this blog post probably within a week, but don't quote me on that.
sb.imagery
All images owned and copyrighted by Scotty Beland.
