Summerfolk Review: Lazy Days of Passion and Privilege at Gorky's Doomed Dacha
In a stunning revival at the National Theatre's Olivier theatre, Maxim Gorky's Summerfolk receives a fresh adaptation by sibling playwrights Nina and Moses Raine. This production, directed by Robert Hastie, injects comedy and raunch into Gorky's 1904 satire of the holidaying elite, set against a backdrop of impending revolution.
A Response to Chekhov's Legacy
Written as a direct response to Anton Chekhov's The Cherry Orchard, Gorky's play explores similar themes of class downfall but with a sharper, more humorous edge. The story follows languid members of the elite gathering at a dacha owned by Sergei Bassov, played by Paul Ready, and his wife Varvara, portrayed by Sophie Rundle. Peter McKintosh's set design is a masterpiece, presenting the exoskeleton of a house like a draughtsman's sketch amidst the woods, creating a visually striking environment.
Comedy and Satire in Period Dress
The Raine adaptation maintains fidelity to Gorky's original while adding a comic lilt, swearing, and raunchy elements. The first two acts flow with breezy comings and goings, as guests picnic and sip champagne, discussing love and life's futility. The satire is less subtle than Chekhov's, with characters including depressed or pompous men and bored or trapped women, all shallowly portrayed yet compelling.
Notable scenes feature Varvara's oppressive marriage and her anguish in love for the grey-haired doctor, Maria Lvovna, played by Justine Mitchell, which bring surges of emotional intensity. Women are compassionately presented, while men face more savage satire, highlighting Gorky's critique of privilege.
Symbolism and Emotional Depth
After the interval, the set opens to a glorious symbolic forest, reminiscent of an Arden in imperial Russia, adding texture to the narrative. Emotional dramas between couples unfold, with moments where the satire gleams, such as when the poet Kaleria, portrayed by Doon Mackichan, dismisses talk of suffering beyond her class by exclaiming, "What about poetry?"
A nod to Uncle Vanya is seen in the unrequited love story between Maria and the young clerk Vlass, played by Alex Lawther, a plotline that nearly steals the show. Mitchell and Lawther excel in depicting tormented love with a comedic bent, and a tender moment between Maria and her daughter Sonya, played by Tamika Bennett, adds depth.
Ominous Endings and Historical Context
Gorky's characters are self-made, unlike Chekhov's landed gentry, with Maria declaring, "We, who are children of washerwomen, cooks and healthy workmen, should be different." Yet, they remain shallow and dissolute, offering self-excoriating summaries. The production delivers a more ominous ending than the original, with rebellious forces hinting at the 1917 Russian Revolution closing in.
At almost three hours, the play ambles with sparks of intensity, much like a summer's day. One character gives a hostile review of The Cherry Orchard: "Went on too long. Didn't like it." This adaptation, while lengthy, remains likable and engaging, running at the Olivier theatre until 29 April.
