AUDITION NOTICE – THE CHERRY ORCHARD
The team behind last year’s sell out MACBETH at the Stables Theatre is producing Anton Chekov’s masterpiece THE CHERRY ORCHARD for performance 12th – 20th April 2024. We offer working together as a connected, supportive, buoyant ensemble to develop the skills and confidence necessary to reveal the play’s incredible humanity and its complexity.
AUDITIONS – Saturday & Sunday 4th & 5th November 10.30am to 4pm
FIRST REHEARSALS with full ensemble – Sundays 10th 10:30am to 3:30pm & 17th December 10.30am to 2pm
Copies of play available at Stables box office from 1st Oct deposit £10
The action of the play takes place on a Russian estate at the beginning of the twentieth century. The serfs have been liberated and revolution is knocking at the door. The non-sensical, self-interested lives of the characters seem farcical in the face of vast indifferent historical forces pressing down on them. Sound familiar?
A once rich landowner in middle age, she has suffered the deaths of her husband and young son Grisha and rejection by a freeloading lover. After a five year exodus in Paris Ranyevskaya returns home to discover she is also about to lose her estate. In flight from suffering, she is reckless, entitled and compelling.
The son of serfs he grew up on the estate and has been attached to Ranyevskaya since boyhood. He is a coarse, energetic, self-made product of the growing Russian bourgeoisie. He offers Ranyevskaya and her family a way out of their financial mess but the gulf created by class is unbridgeable.
Once Grisha’s tutor, he is a reminder of Ranyevskaya’s terrible loss and possibly bears some guilt for it. In his twenties he burns with a self-immolating idealism. An eternal student he pontificates about a bright future free of the shackles represented by Ranyevskaya and her class. He both criticises and pities her delusions. Possibly in love with her daughter Anya, who adores him.
In his fifties, Ranyevskaya’s brother has been softened by his dependent life. He sucks sweets, mimes playing billiards and forgets to dress. A terrible snob it is impossible to imagine how he will survive the loss of the estate.
Ranyevskaya’s adopted daughter manages the estate. In her twenties she alone comprehends the implications of their impending loss. Marriage to Lopakhin represents personal salvation if only he would ask her.
Ranyevskaya’s seventeen year old daughter and still somewhat childlike, she is innocently exasperated by her mother. The loss of the estate only registers because it hurts Ranyevskaya.
A fellow land owner also in financial difficulties and forever on the scrounge. He lives in the belief that something will turn up. And it does.
Anya’s entirely inappropriate governess is a loner who has previously survived as a travelling entertainer. Temporarily attached to the family, she entertains the family with her tricks whilst serving as their critic.
The eighty seven year old servant is probably senile. He eulogises the good old days of serfdom when everyone knew their place. The family exhibit no sentimentality whatsoever towards him or his dedicated servitude.
A clerk on the estate and hopelessly in love with Dunyasha. He is mercilessly mocked by the other characters for his odd speech, squeaky shoes, chronic clumsiness and suicidal romantic outbursts.
A dashing callow young man servant employed by Ranyevskaya and disliked by everyone except Dunyasha.
A maid thoroughly smitten by Yasha but still wondering if she’d be better off with Yephihodov’s oddly expressed but honourable intentions. She has been a satellite of the family all her young life.