Played in-the-round and with the house lights left up, Benedict Andrews’ production of The Cherry Orchard reveals the ongoing relevance of this tragicomedy of change and social tension, in a version he has adapted as well as directed. The production benefits greatly from an apparently simple design by Magda Willi, which transforms in a coup-de-théâtre to change everything – set, sound and lighting - as the new order take over. Costumes, too, (Merle Hensel) are well thought out, most with traces of terracotta to match the carpet set and perhaps the earth of Mother Russia.

This version is broadly in line with the original: most of the modern colloquialisms convince, and the comedy is, quite correctly, imbued with the tragedy of the situation. As Ranevskaya, Nina Hoss creates a believable image of this aristocrat who is out of time and has no future in the changing Russia. The most watchable performance comes from Adeel Akhtar as the son of serfs who now has the money to take over the estate. It’s a performance of some stealth, creating all the charm of the chancer before revealing the real character of the man, as well as his misgivings when the deed is done.

Also very impressive is Nathan Armarkwei Laryea as Yasha, alternately Doctor or drug dealer, and a survivor above all. It’s a large and impressive cast with no weak areas, and the sense of an estate in its dying days is convincingly portrayed. One small part, that of Firs the elderly servant, has been played by some of our greatest actors: Ralph Richardson, Michael Bryant and High Lloyd have all played it at the National Theatre and it is a role that offers much to an actor who knows how to make something profound from a few lines and entrances. June Watson, a regular in new work and classics since her career began in the repertory theatre in the 1960s, gives a heartfelt and tragic performance. Her final moments alone on the stage create in one image the theme of the play.

Not everything in the production is as effective: leaving the house lights up certainly puts the audience on edge, and that may have been the intention, but in a production played in-the-round, this also means that all audience members also have a clear view of one another. The resulting distraction and alienation does not seem to contribute to the production, and it would have been good to have had more focus on the stage; in a production in-the-round, the audience will always be aware of one another in any case.

This production of The Cherry Orchard is a well-acted, cleverly designed and intelligent production of a text which always bears revival.

**** Four stars

Reviewed by: Chris Abbott

The Cherry Orchard plays at the Donmar Warehouse until 22 June, with further info here.