Review: Kirsikkatarha

End-time carnival
The visuals of the Cherry Orchard are delightful and the music is touching.

In the hall of the manor, cherry trees bloom in white and pink. An entire crystal chandelier is hung on their branches. Ropes isolate the children’s room into its own, untouched space. The family’s dead youngest child is present all the time. The Cherry Orchard, directed by Lauri Maijala and directed by Janne Vasama, conjures up the
on the huge main stage, each more abundant and imaginative
outlook.

Maijala initially directs Chekhov’s play like a farce.

The last summer is being celebrated in the country manor. The money has been wasted, but each member of the mixed party lives as if in their own bubble. At first, Maijala directs Anton Chekhov’s familiar play like a farce. There is plenty of movement, speed and sound. At the same time, however, the actors get the opportunity to grow their characters to be whole and equally interesting. Everyone’s fate touches her, but Heidi Herala’s Ranevskaya is the play’s
The absolute focal point. She is believable as a grief-stricken and admired lady of the manor, without a hint of bowling. Many others also achieve breathtakingly fine performances, most notably Emilia Sinisalo as an adopted daughter and Seppo Maijala as an old chambermaid. When painful truths can no longer be avoided, the guidance becomes more serious. Ahead
are the last, frenzied celebrations of the manor. After the intermission, the atmosphere will also be deepened by a string quartet taking the stage. With the help of Lauri Porra’s music, it brings the story completely
a new level.