As The REP approaches its final few months in it's Centenary Square home before a two year absence from its main auditorium, Artistic Director, Rachel Kavanaugh gives us a visually sumptuous take on Chekhov’s final work.
Kavanaugh’s production works a treat when installed in the lofty heights and gargantuan dimensions of Colin Richmond’s design, aided by the subtle and beautifully shifting lighting of Tim Mitchell; which combine to do a great job in conveying the now lost fortune of Ms Ranevskaya and her crumbling estate.
Being Chekhov sometimes the performance creaks under the weight of the heavy subtext and symbolism, but Tom Stoppard’s adaptation does well in keeping its audience occupied whilst keeping true to its original form.
Josie Lawrence leads the production with a commanding performance which posses a sense of gravity which both captivates her audience and also maintains believable relationships with her supporting cast.
The production may lack in a stamp of individuality in comparison to any other Chekhov production you may see, but this is an adaptation that remains true to its origins but is also engagingly watchable.