Paul Ready (Sergei Vassilich Bassov) and Sophie Rundle (Varvara Mikhailovna) [Johan Persson]

THE first half of Maxim Gorky’s 1904 play – in a new adaptation by siblings Nina and Moses Raine – is a slow burn, as numerous characters are introduced. But stick with it, because Summerfolk rewards patience.

A group of middle-class Russians are holidaying at the dacha of Sergei Bassov (Paul Ready), where they eat, drink, swim, stage plays and have affairs. Yet Sergei’s wife Varvara (Sophie Rundle) can’t shake the feeling that their indolence is about to be abruptly curtailed, that massive change is on the horizon.

There’s unrequited love, and the burgeoning passion between Varvara’s young brother Vlass (Alex Lawther), a clerk to her husband, and her friend Maria (Justine Mitchell), a doctor, provides a memorable subplot.

Doon Mackichan is also very funny as Bassov’s pretentious sister Kaleria, who is convinced that poetry has the answer to everything, while a visiting writer (Daniel Lapaine) is far less impressive in person.

Conceived as a response to Chekhov’s The Cherry Orchard (and premiering the year he died), Summerfolk is not as subtle and, at times, feels like a pale imitation. But Robert Hastie’s bold production, aided by the Raines’ modern colloquialisms, feels strangely resonant, hinting that the party is ending and dark times are ahead. Like Chekhov’s characters, Gorky’s cast yearn for better lives, aware that the best may already be behind them. The watchmen circling feel like predators waiting to strike.

Peter McKintosh’s set is a triumph: we begin in an expansive, partially constructed wooden house before the stage opens out into a forest, the timber transformed into tree trunks – reminiscent of Rosanna Vize’s 2021 design for Camp Siegfried at the Old Vic – but elevated with water and mildewed decking. His elegant costumes are equally striking.

The 23-strong cast, many familiar from our screens, prove every bit as compelling on stage.

Until April 29
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