Peter Pan, or The Boy Who Would Not Grow Up. Chekhov's style was notably different from his contemporaries. His self-described "farce," The Cherry Orchard, presents a more realistic portrayal of psychology and human behavior compared to other playwrights of his time. Unlike other plays of that era, The Cherry Orchard focuses on a historical epoch and examines society as a whole rather than just individual characters.

Comedy vs. Tragedy

Anton Chekhov's final play, The Cherry Orchard, was written as a comedy about a wealthy family that loses their cherished home and orchard to a man who was once a serf on their estate. Comedy, one of the two primary forms of drama (the other being tragedy), is designed to entertain and usually concludes on a happy note. Chekhov described The Cherry Orchard as a farce, a type of comedy marked by exaggerated humor, absurd situations, and often crude content. However, when Konstantin Stanislavsky decided to stage the play at the Moscow Art Theater in 1904, he expressed a different interpretation in a letter to Chekhov, as cited in Stages of Drama: Classical to Contemporary Theater: "It is not a comedy, not a farce, as you wrote—it is a tragedy no matter if you do indicate a way out into a better world in the last act...when I read it for the second time...I wept like a woman, I tried to control myself, but I could not. I can hear you say. 'But please, this is a farce...' No, for the ordinary person this is a tragedy." This disagreement between Chekhov and Stanislavsky created a significant rift between the two friends. Like that initial production, most modern renditions of The Cherry Orchard focus on its tragic aspects, rather than presenting Chekhov's vision of the play as a farce.

A tragedy is traditionally defined as a drama in prose or poetry about a noble, courageous hero of excellent character who, due to a tragic flaw, brings disaster upon himself. Tragedy addresses its subjects with dignity and seriousness, using poetic language to evoke pity and fear, ultimately leading to catharsis, a spiritual awakening or renewal. The Cherry Orchard does not fit neatly into the classic definition of tragedy, but the characters' inability to act to save themselves or resolve their problems elicits empathy from the reader/viewer. The play evokes a sense of tragedy through its circumstances, despite containing humorous moments.

Comic Moments

The play includes many comedic situations. Leonid Gayev's frequent imaginary billiard shots and his incessant chatter create delightful comic moments: his salute to the one-hundred-year-old bookcase ("Dear highly esteemed bookcase, I salute you"), and his addiction to hard candy are a few examples. Simon Yepikhodov, humorously nicknamed Twenty-two Calamities, is a character designed purely for comic relief. His squeaky boots and his statement: "Everyday, sir, I'm overtaken by some calamity. Not that I mind. I'm used to it. I just smile," add to the humor. Yepikhodov's love triangle with Dunyasha and Yasha also contributes to the comic value.

The elderly servant Firs's stumbling and mumbling, along with the misunderstandings arising from his frailty, are portrayed with a comedic touch. On the other hand, Peter Trofimov's comic side is revealed through his impassioned, often absurd outbursts. After Mrs. Ranevsky rebukes him for claiming he is "above love" with Anya, he exits in a huff and tumbles down a flight of stairs. Although Chekhov's stage directions emphasize the comedic aspect, this scene can also be interpreted seriously. Another humorous moment occurs during Yasha's interaction with Dunyasha in the orchard. Yasha flirts with Dunyasha, calling her his "little cucumber" and making her fall for him, despite his intention to abandon her. These multifaceted characters created by Chekhov offer a wide range of interpretive possibilities for actors and directors.

Boris Simeonov-Pishchik embodies both tragedy and comedy simultaneously. He is perpetually begging Mrs. Ranevsky for a loan to settle his debts, even though her financial situation is equally dire. While his pleas are often humorous, the overall scenario is quite grim. Chekhov's talent for finding humor in tragic situations is a hallmark of his unique style as a playwright. Pishchik's humorous remarks about his family lineage lead to a sobering admission of his financial troubles: "My father, may he rest in peace, liked his little joke, and speaking about our family pedigree, he used to say that the ancient Simeonov-Pishchiks came from the horse that Caligula had made a senator. But you see, the trouble is that I have no money. A hungry dog believes only in meat. I'm just the same. All I can think of is money.'' While Pishchik's statement is funny, anyone who has worried about finances can relate to his obsession with money. In many instances, Chekhov skillfully balances comedy and pathos, allowing the interpretation to swing either way. This duality in the play is why some view it as a farce while others see it as a tragedy.

Point of View and Empathy

The play utilizes a third-person perspective, offering the audience an external view of the events without delving into the characters' inner thoughts or motivations. Despite this, the audience often feels empathy for the characters. Empathy involves sharing emotional and physical experiences with another being. For example, when the axes start chopping down the orchard at the play's conclusion, the audience shares in Mrs. Ranevsky's anguish. Her pain is further understood when the audience learns about the death of her young son and the subsequent passing of her husband, events that occur before the play begins. Mrs. Ranevsky's decision to escape to Paris becomes more comprehensible. Similarly, when Lopakhin fails to propose to Varya, the audience can empathize with her resulting heartbreak.

1904: A Zemstvo congress convenes in St. Petersburg, Russia, demanding civil liberties for citizens and the establishment of a representative assembly.

Today: Russia continues to struggle with fundamental civil liberties and rights post-Soviet Union. A coup attempt by right-wing activists occurs, but President Boris Yeltsin, elected democratically, maintains his position.

1904: The Trans-Siberian Railroad is inaugurated, connecting Moscow to Vladivostok. With 3,200 miles of track, it becomes the longest railway line in the world.

Today: Residents of Vladivostok protest the government's unfulfilled promises of financial reforms. Despite the communication and transportation links, the vast distance between Moscow and Vladivostok poses challenges for central government control.

1904: French physicist Marie Curie discovers two new radioactive elements, polonium and radium. These discoveries pave the way for nuclear power, nuclear weapons, and space exploration.

Today: Despite economic challenges, the Russian space program makes progress. The Mir space station, powered by nuclear energy, continues to orbit Earth, hosting astronauts from both Russia and the United States.

1904: The National Tuberculosis Association is founded in the United States to combat the disease known as consumption. In Russia, tuberculosis claims the life of playwright Anton Chekhov.

Today: Tuberculosis is resurging in the United States and worldwide, exacerbated by HIV (Human Immunodeficiency Virus) and AIDS (Acquired Immune Deficiency Syndrome). Although nearly eradicated in the 1970s, tuberculosis now exploits weakened immune systems caused by viruses like HIV. However, numerous treatments are available today, and the disease no longer carries the fatal inevitability it did in Chekhov's era.

Ranevsky Estate

Nestled in the heart of central Russia, the Ranevsky estate embodies the fading grandeur of a bygone era. This locale serves as the backdrop for three acts of the play, each unveiling different facets of life and change within its confines. The first act introduces us to a once-vibrant nursery room, now transformed into an informal meeting space with high ceilings that whisper of past joys and echoes of laughter. This room, at one time the epicenter of youthful innocence, now hosts the adult concerns of Madame Ranevsky and her entourage.

Venturing outdoors in the second act, the setting shifts to a field near an ancient chapel, not far from the house. It’s a place where the rustic charm of the countryside mingles with the whispers of spiritual reflection, providing a poignant contrast to the decaying opulence of the estate. Here, under the open sky, the characters ponder their fortunes and futures against the backdrop of their ancestral home.

The third act brings us back indoors, where the true extent of the estate’s former splendor is on full display. A drawing room adorned with a chandelier comes to life in the foreground, while the lively rhythms of dancing couples enliven the ballroom in the background. Through these arches, one captures a fleeting glimpse of the estate’s glorious past, now on the brink of being left behind.

As the curtain rises on the fourth act, the scene returns to the once-nursery, now bare and stripped of its ornaments, a stark reminder of the inevitable change pressing upon Madame Ranevsky and her family. The estate, once a symbol of stability and prestige, is now a shell marked for departure, its fate sealed by the relentless march of economic and social forces beyond its gates. A nearby station underscores the estate’s connectivity to the wider world, hinting at the pull of Russian cities such as Kharkov and Moscow, while the specter of Paris looms large over Madame Ranevsky’s past indiscretions.

Cherry Orchard

Integral to the estate is the cherry orchard, a poignant symbol of vulnerability and transience. Its presence is woven throughout the narrative, reflecting the fragile and imperiled beauty of Madame Ranevsky’s world. In the first act, the orchard is a vision of springtime splendor, viewed through expansive windows that frame its beauty. This blossoming vista is a testament to what once was, a fleeting image of harmony and promise.

In the field setting of the second act, the cherry orchard stands at the periphery, a silent observer to the unfolding drama and decisions that may seal its fate. By the time the play reaches its denouement in the fourth act, the orchard appears bereft and barren, its blossoms long since fallen to the October ground. This visual transformation mirrors the emotional and financial decline of the Ranevsky family, a stark reminder of the inexorable passage of time and the cost of neglecting one’s roots.

The Cherry Orchard, Part I: Chekhov, Innovator of Modern Drama is an educational film featuring selected scenes and a discussion by Norris Houghton, released in 1968. It's available through Britannica Films.

The Cherry Orchard, Part II: Comedy or Tragedy?, also part of the same series, includes scenes accompanied by Houghton's discussion. This installment, which delves into techniques for dramatizing internal action and the concept of subtext, was released in 1967 and is available from Britannica Films.

Chekhov and the Moscow Art Theatre showcases director Yuri Zavadsky staging scenes from The Cherry Orchard using the Stanislavsky method. This title is available from IASTA.

The Cherry Orchard is available on three audio cassettes, translated by Leonid Kipnis and featuring actors such as Jessica Tandy and Hume Cronyn. It is distributed by Caedmon/Harper Audio.

Anton Chekhov: A Writer's Life is a concise biographical study of the playwright, released in 1974 and available from Films for the Humanities and Sciences.

Chekhov is a biography by Henry Troyat, available on twelve audio cassettes and narrated by Wolfram Kandinsky. This 1989 release can be found through Books on Tape.

Chekhov: Humanity's Advocate is an audio cassette from the Classics of Russian Literature Series, featuring Ernest Simmons discussing Chekhov's work and artistic principles. Released in 1968, it is available from AudioForum.

The Seagull, a classic Chekhov play adapted into a film by Sidney Lumet, stars James Mason, Vanessa Redgrave, Simone Signoret, David Warner, Harry Andrews, Eileen Herlie, and Denholm Elliot. This 1968 film is available on video from Warner Brothers.

The Seagull is also available as a Russian film version with English subtitles, directed by Yuri Karasik in 1971. This version can be obtained from Facets Multimedia, Inc.

Three Sisters is another Chekhov classic adapted into a film by Laurence Olivier and John Sichel, featuring Olivier, Joan Plowright, Alan Bates, Jeanne Watts, Louise Purnell, and Derek Jacobi. Released in 1970, it is available from American Film Theater.

Three Sisters is also available as a video-taped version of the Actors Studio production, directed by Paul Bogart and starring Kim Stanley, Geraldine Page, Shelly Winters, Kevin McCarthy, and Sandy Dennis. This version was released in 1966.

Vanya on 42nd Street is an imaginative film capturing a rehearsal of David Mamet's stage adaptation of Chekhov's Uncle Vanya. Directed by Louis Malle, it features Andre Gregory as the director in rehearsal and Wallace Shawn as Uncle Vanya. Released in 1994, it is available from Columbia Tristar Home Video.

Sources

Field, Bradford S., Jr., Gilbert, Miriam, and Klaus, Carl H. Stages of Drama: Classical to Contemporary Theater, Scott, Foresman, 1981.

Further Reading

Bergson, Henri. "Laughter," in Comedy, edited by Wylie Sypher, Doubleday (Garden City, NY), 1956.
Bergson's essay appears alongside George Meredith's "An Essay on Comedy" and an appendix essay, "The Meanings of Comedy," by editor Sypher. This collection is an excellent resource for understanding the nature of comedy.

Bruford, W. H. Chekhov and His Russia: A Sociological Study, Archon Books (Hamden, CT), 1971.
This book connects Chekhov's work to the social structure of Russia, discussing various groups such as merchants, landowners, intelligentsia, and peasants. It serves as a valuable background study for The Cherry Orchard.

Fergusson, Francis. The Idea of a Theater. A Study of Ten Plays, Princeton University Press, 1972.
This highly regarded and influential introduction to theater examines the structure of The Cherry Orchard in relation to classical tragedy.

Hahn, Beverly. Chekhov: A Study of the Major Stories and Plays, Cambridge University Press, 1977.
Hahn's work, a general study of both fiction and drama, discusses The Cherry Orchard in detail, addressing critical views that label Chekhov as merely a melancholy and impressionistic dramatist.

Kirk, Inna. Anton Chekhov, Twayne (Boston), 1981.
This general introduction to Chekhov makes brief references to Bergson as a pertinent theorist for understanding the comic elements in Chekhov's work.

Magarshack, David. Chekhov the Dramatist, Hill and Wang (New York), 1960.
Magarshack categorizes Chekhov's plays into two types: direct action plays and indirect action plays (those with significant offstage events), including The Cherry Orchard. He emphasizes the comic structure of these plays.

Priestley, J B. Anton Chekhov, A S. Barnes & Co. (Cranbury, NJ), 1970.
Part of the "International Profiles" series, this critical biography argues that Chekhov was a superior dramatist compared to his fiction writing. It is a good introductory resource on Chekhov and includes illustrations.

Rayfield, Donald. Chekhov: The Evolution of His Art, Harper & Row (New York), 1975.
Rayfield's critical biography explores the interplay between Chekhov's fiction and his plays, showing how each genre illuminates the other.

Styan, J. L. Chekhov in Performance: A Commentary on the Major Plays, Cambridge University Press, 1971.
This book provides an act-by-act interpretation of Chekhov's four major plays, making it particularly useful for preparing texts for performance.

Valency, Maurice. The Breaking String: The Plays of Anton Chekhov, Oxford University Press (New York), 1966.
Focusing on Chekhov's plays within the context of modern European drama, Valency also explores the relationship between Chekhov's plays and his fiction.