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Cherry a Comedy in Four Acts by Anton Chekhov Translated by Richard Nelson, Orchard Richard Pevear & Larissa Volokhonsky

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Cherry a Comedy in Four Acts by Anton Chekhov Translated by Richard Nelson, Orchard Richard Pevear & Larissa Volokhonsky TheCherry A Comedy in Four Acts by Anton Chekhov Translated by Richard Nelson, Orchard Richard Pevear & Larissa Volokhonsky Directed by Susan E. Evans Feb. 27 - March 21 2020 Sponsored by The Law Offices of Richard E. Brown, APC, Diablo Foods, Steve & Tish Harwood, Michael Gilson & Cathy Blake, & Linda Drucker Artistic Director’s Notes Some playwrights humble you. Shakespeare, of course, Tennessee Williams, for sure. Chekhov is close to the top of the pile for me. And, for better or worse, there is certainly an aura around his plays. People who have never even seen one of his plays assume that they are full of people wandering around talking a great deal, and often in a British accent. Despite all those multisyllabic names, The Cherry Orchard’s themes are highly relatable: displacement, a new order replacing the old, the fallacy of privilege, the legacy of slavery, the inevitability of change. Chekhov tells us up front that his final play, hisLear , The Cherry Orchard, is a comedy. Stanislavsky didn’t agree, and there have been countless divergent opinions on that topic. From Day One, I have been telling my cast that the play is about “the human comedy,” that its brilliance is shown in the fact that Chekhov shows us life in all its colors, comedy and tragedy, farce and drama, the silly and sublime, all happening at once. My own words came back to me after one rehearsal where I posed an exercise that just didn’t quite work. I asked my actors to play the last Act of the play with one intention only, thinking that would help them discover the inner drive and rhythms. Instead, the result was oddly dissatisfying; in reflection I realized that playing “one note” in any scene would never work, because Chekhov always explored the contradictions inherent in our every human emotion and impulse. The family of oddball characters in The Cherry Orchard live in the grays, escaping the melodramatic constructs that dominated Western theatre at the end of the 19th century. Chekhov said he wanted theatre to be “just as complex and also just as simple as in life. People eat their dinner, just eat their dinner, yet at the same time their happiness is taking shape and their lives are being smashed.” The Cherry Orchard is such a play, where nothing seems to happen, as everything happens. – Susan E. Evans A Note on this Translation and Performance History Chekhov submitted his final version of The Cherry Orchard to the Moscow Art Theatre in 1903. Konstantin Stanislavsky and his co-director Vladimir Nemirovich-Danchenko revised the play for its 1904 premiere, and their revised script became the standard version. Playwright and Translators Nelson, Pevear and Volokhonsky noted some important and intriguing differences between what had become the established version and the script Chekhov initially intended to be presented. They reconstructed and restored the 1903 pre-rehearsal script text using materials collected from Chekhov’s Complete Works and Letters, providing exciting new insights into this classic of modern theatre. Town Hall Theatre’s production marks the first staging of Chekhov’s 1903 version of The Cherry Orchard for Bay Area audiences. 2 • Town Hall Theatre | 2020 | The Cherry Orchard About The Playwright Anton Pavlovich Chekhov (1860-1904) - Master of modern short story writing and playwright with inestimable influence on modern and contemporary theatre, author of 17 plays and almost 600 stories. Born in Taganrog in South Russia, the third of six children to a family of a grocer, Chekhov first turned to writing as a medical student at Moscow University, from which he graduated in 1884. Among his early works were short monologues (“The Evils of Tobacco”), one-act farces (The Bear, The Proposal, The Wedding) and the Platonov material. His first completed full-length play was Ivanov (1887), followed by The Wood Demon (1889), The Seagull (1896), Uncle Vanya (1899), Three Sisters (1901) and The Cherry Orchard (1904). Board Of Directors President: Lauren Rosi Vice President: Tom Stack Secretary: Catie Warburton Treasurer: Denise Altaffer At large members: Lyle Barrere, Lynda DiVito, Roxanne Gray, Michelle Ianiro, A.J. Mizes, Susan Olig, Gretchen Salter Staff members: Dennis Markam, Managing Director Susan E. Evans, Artistic Director Are you interested in joining the Board? We’d love to talk. Email [email protected] Role of a Town Hall Theatre Board Member 1. Oversee, advise, and approve Town Hall Theatre operations and vision. 2. Create, maintain, and strengthen relationships by being present and active within Town Hall Theatre and our community. 3. Continually engage and recruit volunteers, donors, and future board members. 4. Advocate for the vital role Town Hall Theatre plays in our local community. 5. Honor the past, act in the present, and build the future of Town Hall Theatre. All within a collaborative, creative, and casual environment. 2020 | www.TownHallTheatre.com • 3 Town Hall Theatre Presents TheCherry A Comedy in Four Acts Orchardby Anton Chekhov Translated by Richard Nelson, Richard Pevear & Larissa Volokhonsky Director: Susan E. Evans Scenic Designer: Liliana Duque Piñeiro Lighting Designer: Delayne Medoff Sound Designer: Michael Kelly Costume Designer: Maggie Whitaker Properties Master: Debbie Shelley Choreographer: Madison Gerringer Stage Manager: Nick Carvalho THE CHERRY ORCHARD was originally commissioned by the Manhattan Theatre Club, Lynne Meadow, Artistic Director, Barry Grove, Executive Producer The Cherry Orchard is presented by special arrangement with ICM Partners. 4 • Town Hall Theatre | 2020 | The Cherry Orchard Setting: Russia, The Provinces, 1903. Act One: A room which is still called the nursery. Daybreak. It is already May, the cherry trees are in bloom, but it is chilly. Act Two: A field. You can see the road to Gáev’s estate. The sun will set soon. Act Three: A drawing room, separated by an archway from the ballroom. A band is playing. Evening. August 22nd. Act Four: A large room on the ground floor. It’s October. There will be one 15 minute intermission Characters: Lyubóv Andréevna Ranévskaya (Lyúba), a landowner Sarah Ruby Ánya (Ánechka), her daughter April Deutschle Várya (Varvára Mikháilovna), her adopted daughter Heather Kellogg Baumann Leoníd Andréevich Gáev (Lyónya), Ranévskaya’s brother Tim Holt Jones Ermolái Alexéevich Lopákhin (Alexéich), a merchant Ted V. Bigornia Pyótr Sergéevich Trofímov (Pétya), a student Jake Gleason Borís Borísovich Simeónov-Píshchik, a landowner Mick Renner Charlótta Ivánovna [no last name] Emily M Keyishian Semyón Panteléevich Epikhódov, a clerk Ben Chau-Chiu Dunyásha (Avdótya Fyódorovna Kozoédova), a maid Alicia Piemme Nelson Firs (Nikolaevich), A Servant Tom Reilly Yásha, a young servant Domonic Tracy A Passerby, The Stationmaster, A Servant Samuel Tomfohr Trouble Himself The videotaping or other video or audio recording of this production is strictly prohibited. 2020 | www.TownHallTheatre.com • 5 TRANSFORMATIONS 2019/20 MAIN STAGE PERFORMANCES VIOLET Music by Jeanine Tesori Lyrics and Book by Brian Crawley Based on The Ugliest Pilgrim by Doris Betts Directed by Lynda DiVito Music Direction by Rachel Robinson NY Drama Critics’ Circle Award Winner, and Nicolas Perez Tony Awards® Nominee Best Revival of a Musical In 1964 a young woman from a hilltop town in the Blue Ridge Mountains takes a 900-mile “… heart-stirring … with its Greyhound bus journey -- hoping a televange- tangy flavors of country, gospel, list preacher in Tulsa will heal her facial scar, blues and honky-tonk rock…” and transform her life. Hop aboard and go on - The New York Times a soaring musical pilgrimage with Violet! Lit Up at Town Hall May 28 - Wed. 6/10/20 7:30pm June 20, 2020 Theme: Piece by Piece [email protected] 925.283.1557 Staged readings of emerging playwrights’ work. General Admission: $10 FREE to Town Hall Playwrights of the Theatre subscribers. universe face off! November 11, 2020: The River You pick the winner. by Jez Butterworth, directed by Matthew Travisano March 23, 2020 February 3: Incognito Theme: Among the Trees by Nick Payne, Ticket Price: $5 directed by Anna Smith Tokens to Vote: $5 April 27, 2020 FREE for Town Hall Theatre Theme: TBA subscribers/students. 6 • Town Hall Theatre | 2020 | The Cherry Orchard About The Translators Richard Nelson’s plays include The Gabriel Plays (Women Of A Certain Age, What Did You Expect?, Hungry), Oblivion, Nikolai And The Others, The Apple Family Plays (That Hopey Changey Thing, Sweet And Sad, Regular Singing), Farewell To The Theatre, Conversations In Tusculum, Frank’s Home, How Shakespeare Won The West, Rodney’s Wife, Franny’s Way, Madame Melville, Goodnight Children Everywhere (Olivier Award Best Play), The General From America, New England, Two Shakespearean Actors (Tony Nomination, Best Play), Some Americans Abroad (Olivier Nomination, Best Comedy), and others. His musicals include James Joyce’s The Dead (with Shaun Davey, Tony Award Best Book of a Musical), and My Life With Albertine (with Ricky Ian Gordon). He has adapted and/or translated numerous classical and contemporary plays; his films include Hyde Park On Hudson (Roger Michell, director, Focus Features), Ethan Frome (Miramax Films) and Sensibility And Sense (American Playhouse). He is an honorary associate artist of the Royal Shakespeare Company, a recipient of the Academy Award in Literature from the American Academy of Arts and Letters, and the PEN/Laura Pels “Master Playwright” Award. Richard Pevear and Larissa Volokhonsky (Co-Translators) Mr. Pevear was born in Boston, grew up on Long Island, and attended Allegheny College (B.A., 1964) and University of Virginia (M.A., 1965). After a stint as a college teacher, he moved to the Maine coast and eventually to New York City, where he worked as a freelance writer, editor, and translator, as well as a cabinetmaker. He has published two collections of poetry, many essays and reviews, and 38 books translated from French, Italian, and Russian.
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