Humorous and Haunting

The Cherry Orchard

Robert Falls’ brilliant adaptation of Anton Chekhov’s last play, a piece that the playwright insisted was a comedy, is as humorous as it is potent and profound. This production sparkles with levity, lightness and lots of laughs, despite a story that depicts an aristocratic family that’s haunted by change. The civilization they’ve always known is slipping away from them forever, and they don’t know what to do. Coincidentally this is also Mr. Falls’ final production as Artistic Director of the Goodman Theatre, and the master once again guides his large cast, inspiring his actors toward giving stellar performances that add even more spirit and humanity to this classic. 

Luminously brought to life by one of Chicago’s finest actresses, Kate Fry is magnificent as the play’s leading lady. She plays Lyubov Ranevskaya, a member of Russia’s landed gentry. After tearfully fleeing Russia, following the death of her young son, she’s returned from Paris to her decaying ancestral country home. While in France she remarried, divorced and then was robbed of her fortune by her ex-husband. Back in a fast-changing, post-czarist Russia, Lyubov is both broke and broken since learning that her beloved family estate, including its splendid cherry orchard, is about to go on the auction block. 

However, Lyubov has no idea of either how to make money or keep it, giving rubles away willy-nilly to anyone in need. But terrifically played with bounce and buoyancy by another Chicago favorite, Kareem Bandealy is thriving businessman, Yermolai Lopakhin, and he may have a solution. Having grown up on the estate, Yermolai seems to be the only one who understands the commercial potential of the mansion and its land. Both his father and grandfather were serfs for the Ranevskayas, but Yermolai has risen from servitude to being a member of the newly-evolved middle class. He offers Lyubov a practical and realistic plan to help with the family’s debts, but she’s unwilling to listen or take him seriously, failing to understand how opportunity can emerge from crisis. 

As the clock ticks toward the date of the auction, a cast of fascinating supporting characters fill the Goodman stage. Lyubov’s somewhat eccentric elder brother, Leonid Gayev, who’s played by the talented Christopher Donahue, comes across as a funny upper class twit. He also seems to be cut from the same cloth as his sister. Ignorant of what’s going on in the world around him, Leonid still depends upon his aging, devoted manservant, Firs (a humorous and often touching performance by Francis Guinan), to dress him and draw his bath. Leonid’s humorous Act I monologue delivered to a large, heirloom wardrobe cabinet is hilarious. 

The Ranevskaya household is further represented by Anya, Lyubov’s lovely and spirited teenaged daughter, enthusiastically played by Raven Whitley. She’s completely captivated by Petya Trofimov,  the idealistic and perpetual student, who is constantly, and ironically, berating the intelligentsia. This handsome young tutor is played with passionate conviction by Stephen Cefalu, Jr. And Alejandra Escalante effectively and efficiently portrays Varya, Lyubov’s gritty and gutsy adopted daughter. She’s in love with Yermolai Lopakhin; but, despite her flirtation, the man is totally disinterested, even though they spent many years together on the estate.

Matt DeCaro returns to the Goodman as neighbor Boris Simyonov-Pishchik, a fellow, poverty-stricken aristocrat who constantly, and hilariously, tries to borrow money from everyone he encounters. A Chicago actress whose talents seem limitless, Amanda Drinkall delightfully plays the vivacious servant, Dunyasha, a young woman with a lust for life and an inclination toward the high life. She’s sparked the interest of both the young estate bookkeeper, Semyon Yepikhodov, played with ingenuity and intelligence by Will Allan, and young fellow servant, Yasha, played by the charming and colorful Felipe Carrasco. And giving another brilliant character performance, the incomparable Janet Ulrich Brooks returns to the Goodman as Charlotta, the eccentric family governess who delights everyone with her circus talents, a skill for magic, and an hilarious appetite for cucumbers.

Robert Falls has staged his production upon Todd Rosenthall’s impressive set design. At first we see a run-down nursery, faded and showing signs of decay, sporting a large crack in its ceiling. Then the room retreats upstage, allowing the actors to stroll and play downstage among the grounds near the orchard. In yet another scene we’re transported to the mansion’s additional rooms and hallways, as Lyubov throws an expensive party in anticipation of rescuing the cherry orchard from the hands of greedy entrepreneurs. But be warned: theatergoers seated in the far left and right aisle seats, on the main floor, will have only a partially obstructed view of the entire room in Act I. After the nursery moves upstage the whole stage opens up to one and all; but when it moves back in place during the final act, once again the views become limited.

Ana Kuzmanic has done a monumental job in designing and creating costumes for these characters. They reflect the individual’s class and economic status, while offering plenty of color, sparkle and uniqueness. Richard Woodbury has created some lovely original music and sound for this production, so important in the final scene. Keith Parham has lit this production wisely, depicting a sun-drenched room, then later an outdoors scene, dappled with foliage, and then back inside the house at night for a candlelit soiree. The shadowy lighting used in the final scene, however, is Parham’s greatest artistic contribution.

Surely, Robert Falls will be recalled for his many, many excellent productions at the Goodman Theatre. And for the plays he hasn’t directed personally, Mr. Falls has certainly guided and steered these toward greatness, as well. But, despite its length and leisurely pacing, “The Cherry Orchard” will undoubtedly stand out as one of his finest contributions to Chicago Theatre. Filled with memorable characters, pathos, lots of humor and many haunting beats, this show will be remembered as a production that Anton Chekhov, himself, would have undoubtedly given a standing ovation.              

Highly Recommended

Reviewed by Colin Douglas

Presented April 1-30 by Goodman Theatre, 170 N. Dearborn, Chicago.

Tickets are available in person at the Goodman box office, by calling 312-443-3800 or by going to www.GoodmanTheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.