Attempts to combine stage productions with cinematic presentations isn't a new idea. In 1964, Richard Burton collaborated with director John Gielgud on a Broadway production of "Hamlet". The play was taped through an experimental process called Electronovision and was shown in select movie theaters across the United States. The experiment proved to be financially successful and allowed people who were not in proximity to Broadway to enjoy the theatrical experience. Today, of course, it is quite common for concerts, ballets and even sporting events to be shown on theater screens but it is not a frequent occurrence for stage plays to be presented in such a fashion. Ukrainian-born director Igor Golyak hopes to change that through his innovative stage presentation of "The Orchard", a drama loosely adapted from the premise of Anton Chekhov's classic Russian play "The Cherry Orchard". In essence, Golyak has initiated a process through which audiences can choose to see a traditional presentation of the play in a theater (in this case, the off-Broadway venue The Baryshnikov Arts Center, founded by legendary dancer and actor Mikhail Baryshnikov, who is a member of the cast.) As an alternative viewing experience, audiences can see the presentation concurrently through streaming, which affords the viewer certain hi tech abilities not available to those attending the live performance. It's a bit complex, so we'll go to the official press release to describe the concept:
"The virtual experience online invites audiences on a journey
through a beautifully rendered, three- dimensional virtual
property that has been abandoned and is in foreclosure.
There, audiences can explore and discover magical
rooms where
they uncover echoes of a past life, now lost, including Chekhov's letters,
memories, and ultimately
the play, live,
in progress at the
Baryshnikov Arts Center. The in-person
and online versions will run concurrently -live
-for
each performance.
Partway through the
performances, the two versions intersect and the worlds
come together."
I was invited to choose which type of performance I preferred for purposes of reviewing the production. I chose the old school, live theater option largely because one does not get an opportunity very often to see Mikhail Baryshnikov on stage in any capacity. Baryshnikov is not the star of the show- it's very much an ensemble piece- but there is little doubt that his presence provides prestige and marquee value.
Igor Gloyak's version of the Chekhov masterpiece is so offbeat that it would be more appropriate to call it a production that has been inspired by the original work rather than an adaptation. The basic premise is the same: a once affluent family has fallen on hard times and may have to sell their beloved cherry orchard in order to remain financially solvent. All other aspects of the production are unique and original, something that becomes apparent at the first glimpse of stage design. A giant robotic arm dominates the set. It's purpose is never explained, though at different points it is utilized for various means including being referred to on one occasion as an antique bookcase. It's an impressive piece of machinery that reminded me of cross between an H.R. Giger creation and the world's largest dental drill. In any event, it's huge, imposing and unsettling, which I presume was the intention. There is also a rather amazing robotic dog, a family pet, that scampers about the stage throughout the show.
At times I found the story incomprehensible but I think it might well have been intended to be. Golyak describes the show thusly, “This is a story about the delicate relationships at the
center of a family facing the end of the world as they know
it. We are living through an unimaginable time of change and destruction
with the war in
Ukraine and with the pandemic. As humans, we are perpetually losing our cherry
orchards, losing our worlds. This
play is about us today." The characters are Russian but the era is undefined, although they are attired in costumes that suggest the pre-Soviet period in which the original play was written. At times the drama seems to take place in an other-worldly setting in a dystopian landscape. The impressive set is bathed in blue light and makes for a mesmerizing sight. Characters come and go without full explanation of their relevance to the story. The press materials state that Baryshnikov plays two characters, and one of them is Chekhov. What was not made clear is that his interpretation of the famed playwright only takes place in the streaming version of the play, something I was not aware of until after the performance. I was left wondering why Chekhov never appeared in the production I witnessed, nor was he even mentioned. In addition to Baryshnikov, who is impressive playing against type as Firs, the family's loyal servant who is now a feeble old man, the talented cast is comprised of Jessica Hecht, Juliet Brett, Darya Denisova, Elise Kibler, John McGinty, Nael Nacer, Mark Nelson and Ilia Volok. One hesitates to single out an individual for praise, but in the final stages of the show, Nael Nacer delivers an impassioned and tragic monologue in a particularly brilliant manner. Perhaps not coincidentally, it's also one of the few scenes that relate to the basic plot concerning the family's financial dilemma and the auction of their property. As for Baryshnikov, he also gets a particular moment to shine in the climax of the play as his disillusioned character comes to the heartbreaking realization that his lifetime of devotion to and affection for the family has not been reciprocated. It's a poignant and moving moment.
The story is dark and often depressing, but is alleviated by many bon mots that provide some doses of much-appreciated humor. The dreamlike quality of the production will undoubtedly divide audiences. Those seeking a traditional theatrical experience will doubtlessly indulge in a good deal of chin-stroking and cranium scratching as they try to discern the meaning of it all. A couple sitting next to me described the show as "the height of pretentiousness". However, at the conclusion, the cast was greeted with a rousing standing ovation.
Golyak has bathed his script in complex ambiguities. The resistance to not spell things out for the audience to easily understand can be an asset. It took me numerous viewings before I was able to decipher the meaning behind the much-debated final frames of Michelangelo Antonioni's 1966 film "Blow-up" and I'm still trying to discern what the climactic episode of Patrick McGoohan's "The Prisoner" is all about. However, the abundance of ambiguities in "The Orchard" might alienate as many viewers as are enticed by it all. Those with a basic knowledge of "The Cherry Orchard" may find relevant parallels to the characters and plot of "The Orchard". However, those who lack that knowledge will likely find themselves lost in the confusing happenings on stage. It should not be a prerequisite to have knowledge of an earlier work in order to comprehend a new adaptation of said work. I believe that Golyak intended the production to be debated by audience members long after they have left the theater. That was certainly my experience. My wife accompanied me to the show and although we had seen and heard the exact same things, we had drawn vastly different conclusions. "Rashomon", indeed. If this was Golyak's intention, there is no doubt he succeeded. "The Orchard" is not for everyone but it is a unique theatrical experience.
"The Orchard" runs through July 3. For information and tickets, click here.