Proudly South African theatre at its best!

Temmingh's taut-and-solid creation - what she describes as a "postmodern idiom" - is based on Alwyn Lee's direct translation from Chekhov's Russian text. The standard four-act play is skilfully condensed to a 90-minute production, magnificently enhanced by Temmingh's inspired visual design of the play. Temmingh's version is crisp and refreshing, resulting in a Chekhov play that is as fresh as the Cherry Orchard.

From the moment you enter the theatre, with the actors seated on chairs, around tables or at a piano, deep in thought or in silent action, engulfed by the dark womb of the black surround and illuminated by rows of white paper lanterns that hangs from the ceiling and shoot out into the intimate space, a dialogue is triggered between the audience and the cast.

Unlike any other production of the prolific Russian playwright

You realise that this is Chekhov unlike any other production of the prolific Russian playwright you have seen before, and your instinct is well rewarded. The play concerns an aristocratic Russian woman and her family as they return to the family's estate (which includes a large and well-known cherry orchard) just before it is auctioned to pay the mortgage. The story's themes of cultural futility - both the futility of the aristocracy to maintain its status and the futility of the bourgeoisie to find meaning in its newfound materialism - has significant and pertinent resonance in South Africa today. Although the text is in Afrikaans, interspersed with songs, Temmingh kept most of the names of the characters in Russian.

Tinarie van Wyk Loots shines with her stupendous performance of Liefie (Madame Ranevskaya in the original text), a landowner and the lynchpin around which the characters revolve. Van Wyk Loots perfectly captures the essence of a woman representing the pride of the old aristocracy, now fallen on hard times, and you will share her confused feelings and nostalgic reminiscence of love for her old home.

Wilhelm van der Walt is equally brilliant as Leonid, Liefie's brother who is a talkative eccentric and aptly portrays a man who tries hard to save his family and estate, but lacks the drive. It is interesting how Van der Walt skilfully brings out Leonid's addiction to billiards, which is symbolic of the aristocracy's decadent life of leisure, which renders them impotent in the face of change.

Nandi Horak is radiant as Liefie's daughter, a virtuous, strong woman who listens to revolutionary ideas, with Roxanne Blaise delivering a spirited performance as Liefie's adopted daughter Varya. Bianca Flanders is mesmerising as the housemaid Dunuasha, a peasant that is representative of the aristocracy's impotence, also delivering brilliant support on the piano.

A heartfelt performance

In the role of the wealthy merchant Lopachin, Oscar Peterson delivers a heartfelt performance, with Carel Nel in top form as Petya, an impassioned left-wing political commentator who represents the rising tide of reformist political opinion. You will not forget Sjaka Septembir as the aristocratic landowner Pishtshik; he perfectly captures the essence of a character who embodies the irony of the aristocracy's position. Bianca Flanders is mesmerising as the housemaid Dunuasha, a peasant who is representative of the aristocracy's impotence.

The energy of the play is infused with a constant battle between being wealthy and poor, falling in love and having money; a scuffle between knowing and the suspense of unforeseen circumstances. The characters duel and dance charmingly between their relational and personal conflicts.
There is a familiar and comfortable bond that is created amongst the cast, allowing us to care about their respective destinies as we are constantly drawn into introspective monologues and confrontational duologues.

The suspense becomes a tightrope

Chekhov is causality in action, where what is said (even sub-textually) and done causes a reaction and interaction that is tangible and invigorating. We gather insight as the momentum increases and the suspense becomes a tightrope that challenges the humanness of the "proud" characters. The open space of the setting allows the actions and different scenes to bleed into a cohesive whole where everything is connected; this amplifies the theme of broken lives and relationships that will always be merged, although divided.

There lies hope in the fragile and futile despair of the characters; it's a silent emotional union that is vividly interspersed with spouts of music, song and dance. The characters often drift off into their own realities; this powerful and effective passive introspection is superbly balanced by vigorous and robust contact. At times the silent distance between the characters explodes into a chaotic traffic jam of raw emotions, exploding with dramatic intensity. Ultimately, the play is about the happiness of having too much and the sadness of losing everything; we journey from one extreme to the other as the characters try to find answers and redeem their actions.

It deals with our constant search for belonging, of being and wanting to fulfil the basic emotional needs that support the fragile complexity of human nature. Being alone, lonely, or united are reflected in the captivating journey from start to finish. There is a life beyond living in the moment and the memories of a past that haunt the characters; the ghosts of the past and the history that unites the relationships offer dramatic and comedic relief.

Latent secrets fuel the desires of the characters and the revelation or awareness of its severe consequences trigger an emotional battle that spirals from happiness to melancholy. Nothing remains the same for the characters and this reality is beautifully echoed in the spontaneous and vigorous performances. It's not always easy to bid farewell to a life well lived, or a house we called home, and with Die Kersieboord, its poignant refrain will remain with you long after leaving the theatre.

We need plays like Kersieboord to not only remind us of who we are, but companies like The Mechanicals to showcase the magnificent talent we have in South Africa.

Kersieboord is showing at the Intimate Theatre from 6 to 17 August and 28 to 31 August,Tuesday to Saturday at 8pm. For bookings, go to www.webtickets.co.za. Visit the website at www.themechanicals.co.za.

More a feast of Chekhov

The multi award-winning theatre collective, The Mechanicals, celebrates the great Russian playwright Anton Chekhov: a master craftsman in detailing the domestic and human lives of his time through a curious comic lens, allowing the themes to resonate, to remain pertinent and, finally, to impact on our contemporary lives. This season celebrates this iconic dramatist's work in Afrikaans (Die Kersieboord directed by Sandra Temmingh) and in English (The Bear and The Proposal directed by Chris Weare from August 22).

Read more at www.writingstudio.co.za/page4561.html.