Displaying items by tag: Anton Chekhov

Robert Falls is back! Well, for a short time at least to direct his adaptation of Anton Chekhov’s “The Cherry Orchard.” Falls retired as the Goodman Theatre artistic director in 2022, but his productions of Chekhov’s classics have become events to anticipate. “The Cherry Orchard” is the endcap to Falls’ Chekhov series that began with ‘Three Sisters’ and has included “The Seagull” and “Uncle Vanya”. Each a definitive production that was met with critical acclaim. “The Cherry Orchard” is no exception, in fact, it might even be his best.

“The Cherry Orchard” premiered in Moscow in 1904, just a few decades after the end of serfdom in Russia. The story follows Lyubov Ranevskaya (Kate Fry) as she returns to her family’s estate after years of living abroad. The estate has fallen into disrepair and unless the taxes are paid, Lyubov is certain to lose the property her family has held onto for centuries. Her childhood friend, a former serf, Yermolai Lopakhin (Kareem Bandealy) eagerly awaits her return, and offers her family solutions that would allow them to keep the estate. It’s also implied Yemolai is in love with Lyubov. As with any Chekhov play, the lives of the serving class are also highlighted in all their unrequited loves and general discontent.

This “The Cherry Orchard” is a veritable who’s who of the Chicago theatre scene. Kate Fry plays Lyubov with an almost manic vacillation between childlike naiveté and a crazed addict. Her powers are immediately illuminated from the moment she walks on stage. Regular Goodman player Amanda Drinkall plays the maid Dunyasha. Her giddy and absurd physical humor brings a much-needed sense of humor to a role that doesn’t offer much kindness to the family accountant Semyon—played with as much physical humor but perhaps more guttural pathos by Will Allan. Chicago stage favorite Janet Ulrich Brooks returns with another wonderful performance as the governess/trickster Charlotta. Her sleight of hand magic tricks make you wonder if she really is magic after all. Perhaps nobody is as affective as Francis Guinan as the servant Firs, who may just be the last vestige of serfdom on the property. The pottering body language and stammering delivery are devastating.

Adding to the roster of Chicago theatre staples, set designer Todd Rosenthal’s staging is nothing short of epic. There’s a striking blend of minimalism mixed with the kind of over-the-top spectacle that Goodman audiences expect. While it’s not always a necessity to have larger than life sets, some occasions just call for it and a theatrical event like this is fitting to pull out all the stops. Costumes by Ana Kuzmanic play nicely against Rosenthal’s backdrop.

If you’re going to see a classic, the team behind “The Cherry Orchard” is your best bet. Robert Falls has had an influential career turning Goodman Theatre into the institution it is today and Chicago audiences will likely continue to be enchanted by his work for years to come. His own adaptation of “The Cherry Orchard” digs deep on the idea of what it means to be free. It also showcases some terrific performances from some of Chicago’s most beloved performers. This production feels like a love letter to the theater that made Robert Falls the mastermind Chicago has come to expect. You won’t be quick to forget this epic night at the theatre.

 Through April 30 at Goodman Theatre. 170 N Dearborn. www.goodmantheatre.org.

“A man came by chance, saw it, and destroyed it” repeats Chekhov in his psychological melodrama “The Seagull”. Such a simple phrase says so much about the ways humans can treat one another. Steppenwolf Theatre revives the classic play under the title “Seagull” in a new adaptation by company member Yasen Peyankov who also serves as the director. Steppenwolf invites audiences to their new impressive theater space for its inaugural production. The cast primarily features ensemble members in what feels like a celebration of Steppenwolf’s rich legacy.

“Seagull” is a great introduction to the impressive new building on Steppenwolf’s campus as well as a great introduction to Anton Chekhov. Yasen Peyankov worked on this script for many years, occasionally working with Russian language experts from Northwestern University to maintain Chekhov’s original intent. Audiences will be struck by how fresh this script sounds. Plays of this era can be a bit of a slog for the uninitiated, but this version has a stronger sense of immediacy to the lines. Peyankov focuses his script on the dark humor that often gets diluted out in tedious repetition and lengthy scene-work. The main points are easier to grasp here and overall serves the tragic ending more because the characters feel more relatable.

Peyankov’s script is peppered with a reality TV flare. Nobody perhaps better inhabits that flavor than Lusia Strus as Irina Arkadina. Her character is a fading stage actress who’s summering at a country house with her new beau and her adult son. Her adult son Konstantin (Namir Smallwood) is also struggling writer and loathes his mother’s successful writer boyfriend Trigorin (Joey Slotnik). He’s in love with Nina (Caroline Neff) but she much favors fame than love. Konstantin cannot return the love of the caretaker’s gothic daughter Masha (Karen Rodriguez) though she’s the only one who believes in his talent as a writer. Emotions run high and reactions run big, just like an episode of “Real Housewives.” Lusia is a bold, sexy and smokey voiced Irina, often walking away with most of the laughs in the play.

“Seagull” seems more focused on the female ensemble and that’s just fine because this is a stellar cast of actresses. Masha is arguably one of the best roles an actress can ask for. Karen Rodriguez doesn’t get bogged down in the angst of the role, but rather uses physicality to enhance the comic absurdity of Masha’s moroseness. Masha’s mother Paulina is played by Sandra Marquez who also does a great job of pulling out the humor of an otherwise pathetic character. This script brings the young starstruck Nina character to life more than previous versions. The play gets its name from her character afterall. Caroline Neff delivers a notably emotional performance. The beauty of the new in-the-round space is that in the final moments of the play audiences are able to see and experience the facial expressions of the actors in a way not possible in their existing spaces. Neff is devastating as she manically circles the performance space vacillating between clarity and delusion. Throughout the play Neff speaks the dialogue so naturally that it almost doesn’t feel like scripted words at all.

Purists will have their qualms with this new adaptation but there are only so many ways to use the same dusty old scripts. Yasen Peyankov’s script is definitely cheeky, but there’s real depth in his version. By cleaning up the clutter of words in traditional translations he makes room for the character ambitions to be clearer. When they don’t get what they want, it makes it all the more tragic. If you’re looking for a lighter dance through Chekhov, this is the version to see.

Through June 12 at Steppenwolf Theatre Company. 1650 N Halsted. www.steppenwolf.org/seagull