“You wait 30 years for a Royal Shakespeare Company appearance from Kenneth Branagh and then two turn up at once,” said Claire Allfree in The Telegraph. Having starred as Prospero in “The Tempest” earlier this summer, Branagh is back with an “energetic, charismatic, touching performance” as Lopakhin – the son of a serf who has become a successful businessman – in a new version of “The Cherry Orchard”, adapted by Laura Wade.
‘Broad comedy and pathos’
It’s a “star-studded” production: the cast includes the American film stars Helen Hunt and Bill Pullman. And it looks “beguiling”, said Clive Davis in The Times, with an “elegant set design” that “evokes an outpost of privilege facing extinction”. Unfortunately, the evening veers too wildly between “broad comedy and pathos”, while never quite finding a settled tone – or getting to the heart of the play.
In his final masterpiece – about the owners of a great Russian estate facing up to their financial ruin – Chekhov uses the metaphor of a doomed cherry orchard to “conjure a society on the cusp of seismic change, and a family splintered by inaction and marooned by personal grief”, said Sarah Hemming in the Financial Times.
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‘Curious lack of urgency’
The orchard’s significance is conveyed through pretty prints of cherry blossom that contrast with the gnarled branches that clamber up the set; and the performances are heightened, “as if many of the characters are acting in their own personal drama”, aware that disaster is looming, yet unable or unwilling to meet the “demands of the moment”. The production is full of insight, and painfully truthful moments, but it fails to mine the play’s “heartbreaking depth”, and its impact is dulled by a “curious lack of urgency”.
Branagh’s Lopakhin is unusually amenable, said Arifa Akbar in The Guardian. When his class rage erupts, it is “arresting” – but then it melts away. Hunt is surprisingly “featureless” as the landowner Ranyevskaya; Pullman brings “charm and comic charisma” to the part of her brother, but it’s not enough to rescue a tonally soft-edged production that lacks a “magnetic centre to hold you”.
