ACT I
It is dawn and spring has arrived, in the opening of this scene I wanted to show an impression of ‘the calm before the storm’, a cold light shines on the backdrop, giving the impression of sunrise and tranquillity. Thick black velvet hides the chandeliers/trees, this will progressively move up as Act I unfolds, slowly revealing them. Taking the influence of Magic Realism, Action Scenography with Zalenka and Strelev’s designs my idea of the main structures originates from a combination of the tops of cherry trees and chandeliers from a wealthy household. With these influences in mind I created the skeleton structure of the toy horse (which fits in with the chandeliers/trees) that demonstrates what remains of the family’s house and wealth: memories. Throughout the first scene they are all covered with semi-transparent fabric and throughout the performance, in key selected moments, they will be revealed by some of the characters. They subconsciously pull on a string that is attached to the fabric, which then falls on stage and is cleared between acts.
As Firs crosses the stage before all the other characters enter, Charlotta-Ivanovna enters riding on a miniature train made of luggage, as she gets off, the servants dismantle the train and carry the luggage to the front of the stage.
The first chandelier/tree to be revealed is when Gayev shows his comical devotion to the cabinet, I chose this moment as it accentuates the ‘Vaudevilistic’ side which Chekhov originally wanted to show in his productions.
When Ranyevskaya, Varya and Gayev approach the backdrop, the horizon lights become more intense, if this production is realised I plan on the actors to pull the partitions of the backdrop apart, like a curtain, to let more of the light come in, this will create an outline of their shadows onto the stage. As they gaze upon the beloved cherry orchard, Ranyevskaya automatically pulls on the string to let the fabric fall.
ACT II
It is a warm summers evening Charlotta, Yasha and Dunyasha are in the clearing near the cherry orchard. After Charlotta casually confesses her loss to her past, she grabs her gun and disappears through the hay stack.
As Trofimov, Anya and Varya playfully enter the space they knock over the hay stack.
Trofimov speaking of humanity “everything that is unattainable now will someday be near at hand and comprehensible”, in this moment I want to show what his character shows most in this play: idealism. As an outsider to this situation he brings an objective point of view, here he sides with no one and he is not afraid to show it.
The revelation of the chandelier/tree in this scene is key as Trofimov educates Anya on her family’s destructive past, it also shows her own realisation on how her family is seen now. This demonstrates her growth and her detachment of the orchard. She will then help her own mother with her feelings and the detachment from the family home, it is time to grow up.
ACT III
This is the climax of the play; the party shows the pure absurdity of the bourgeois class. This is the house’s and consequently Ranyevskaya’s last dance together, she awaits Lopakhin with apprehension. The dark blue fabric provides entrances and exits for all the characters and a more gloomy effect to the given situation, the lights that are behind the fabric enable to show shadows of other guests at the party, giving the impression of the grandeur of this event. As Lopakhin enters he is hit by Varya and the music stops, people gather, and as he announces his claim to the famous orchard the chandelier/trees suddenly drop, centimetres above the actor’s head. This is the only moment in the play were the string isn’t pulled to let the fabric fall.
ACT IV
As the final goodbyes are being made the last chandelier/tree is revealed when Lopakhin’s last chance to ask Varya to marry him is unsuccessful, a strong light shines on them in this hopeful moment, this I believe makes it sarcastic and therefor comical (shown in the acting), Varya only pulls on the string when Lopakhin leaves showing her sadness. After they have left, the chandeliers/trees are set down and the dark blue fabric covers them, it is attached to a steel pole, which comes forward, to then cover the whole stage as the sound of the turning locks are heard. Firs then enters and lies on the structures and the lights fade.
DETAILS OF THE SET
