The Cherry Orchard review of the Royal Shakespeare Company’s latest production reveals a star-packed ensemble that, despite its celebrity wattage, fails to ignite the emotional depth of Chekhov’s final masterpiece. Directed by Tamara Harvey and featuring Oscar-winner Helen Hunt as Madame Ranyevskaya, Bill Pullman as her brother Gaev, and Kenneth Branagh as the rising merchant Lopakhin, the show promises grandeur but delivers a curiously muted experience.
Starry Cast, Soft Edges
Helen Hunt brings a refined vulnerability to the aristocratic matriarch, yet her performance lacks the fierce desperation that Chekhov intended. Bill Pullman’s Gaev is endearingly bumbling, but the production’s American accents for the aristocratic siblings create a jarring disconnect from the Russian setting. Kenneth Branagh, fresh from his lead role in The Tempest, plays Lopakhin with a good-natured amiability that strips the character of his class-driven rage. As one critic noted, his Lopakhin is “amenable” rather than seething, missing the sharp anger that made Adeel Akhtar’s portrayal in Benedict Andrews’ 2022 Donmar Warehouse version so electrifying.
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Accents and Ambiguity
The choice to have Ranyevskaya and Gaev speak in American voices while Lopakhin and servant Yasha (Julian Moore-Cook) use Northern Irish accents is baffling. Laura Wade’s reworking, based on a translation by Helen Rappaport, updates the language but does not provide a clear thematic purpose for these vocal contrasts. The result is a production that feels stranded between comedy and drama, never fully committing to either.
Where the Production Shines
The farcical elements do land occasionally. Michael Elwyn’s doddering manservant Firs is a standout, drawing genuine laughs with his comedic timing. The subplot between adopted daughter Varya (Esther Smith) and Lopakhin develops some emotional resonance, capturing the yearning for connection amid societal upheaval. Yet these moments are islands in a sea of tonal inconsistency.
Comparison: RSC 2025 vs. Donmar Warehouse 2022
| Aspect | RSC 2025 (Tamara Harvey) | Donmar 2022 (Benedict Andrews) |
|---|---|---|
| Lead Performance (Lopakhin) | Kenneth Branagh – amenable, good-natured | Adeel Akhtar – sharp, angry, intense |
| Tone | Soft-edged, farcical | Emotionally charged, darkly comedic |
| Accent Approach | Mixed American / Northern Irish | Consistent British |
| Critical Reception | Lack of sparkle, muddy meaning | Electrifying, critically acclaimed |
Key Takeaways
- A galaxy of stars – Helen Hunt, Bill Pullman, and Kenneth Branagh draw crowds but fail to create a magnetic centre.
- Unclear accent choices – The mix of American and Northern Irish voices distracts rather than illuminates.
- Farcical highlights – Michael Elwyn’s Firs provides comic relief but cannot salvage the overall emotional flatness.
- Previous version superior – Benedict Andrews’ 2022 Donmar production remains the definitive modern take.
- Not a complete miss – The Varya-Lopakhin subplot and some comedic moments offer glimpses of what might have been.
FAQ
Is the RSC Cherry Orchard worth seeing for the cast alone?
If you’re a fan of Helen Hunt, Bill Pullman, or Kenneth Branagh, the star power is undeniable. However, the lack of emotional impact means even devoted fans may leave disappointed. For a more gripping interpretation, seek out the 2022 Donmar Warehouse production.
Why did the production use different accents?
The reason remains unclear. Laura Wade’s script updates the language but does not explain the accent choices. Critics have noted that the mixed accents add confusion rather than depth, distracting from the play’s themes of social change.
How does this compare to Chekhov’s original vision?
Chekhov considered The Cherry Orchard a comedy with farcical elements. Harvey leans into the farce, but the production loses the poignant undertones of loss and transition that Chekhov embedded. Fans of the original may find the tone too light and the emotional stakes insufficient.
In the end, the RSC’s Cherry Orchard review must record a missed opportunity. With such a talented cast, the production should have soared. Instead, it plods along, never fully capturing the heartbreak or humour that makes Chekhov enduring. If you crave a truly stirring adaptation, look elsewhere. But if you’re curious about celebrity performances in classic theatre, this might still offer a mild evening of entertainment.
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