There have been several starry Madame Ranevskayas in recent times. The prodigal Russian landowner, returning to her beloved estate and cherry orchard, was searingly played by Nina Hoss in 2024 and less memorably by Helen Hunt this summer. Now here is Kristin Scott Thomas, who brings a hard-edged modernity that you believe in. She feels of our time, despite the references to dachas and peasants, and could be an upper-middle-class Chelsea mother or minister’s wife, stewing in regret and an unfulfilled life.
Ian Rickson’s elegantly directed production uses a plain-speaking new adaptation by Conor McPherson. The pair have previous form on Chekhov, from six years ago, when they brought a pitch-perfect version of Uncle Vanya to the West End. This too is handsome and engaging, the crumbling drawing room of Chloe Lamford’s set design bearing damp patches and a faded grandeur.
