Reviews: The Cherry Orchard at Duke Ellington School of the Arts
Written by Sohana Bahl of Thomas Jefferson High School for Science and Technology
The rhythmic beating of a djembe fills the space as generations of ancestors take their place in the hallowed halls of a Louisiana estate. There have been decades of hurt and life here, but what's to come isn't always what's expected at The Cherry Orchard performed by Duke Ellington School of the Arts.
Originally written by Anton Chekhov, Duke Ellington produced a masterful adaptation of the production, centering the original story set against the backdrop of the Russian nobility instead around an old New Orleans estate in the early 20th century. Through the onstage relationships between the owners of the mansion and their servants, the production provided a thought-provoking commentary on the history of class conflict within the Creole people in the United States and how quickly dynamics can change.
Practically pulsating with vibrancy was Kayla Parker as the witty Andrea. Parker imbued a stunning sense of dynamicity into her character, varying both her cocky, bold demeanor as the woman of the house with a profound sense of depth and loss through her defeated facial expressions. Her moments of sorrow resonated deeply around the room, provoking strong moments of silence as well as laughter when she included snappy mentions to active popular culture into her performance.
Adding touches of humor and contrast to the production's dark moments was the effervescent Carlotta, portrayed by Jahzira Watkins. With her lofty, grandiose movements and a signature cackle, Watkins emphasized the ever-changing nature of the production with magical card tricks and a floaty gait. The show's three-dimensional nature was also aided with the presence of the sensible Varya, portrayed by Juliah Perdue. Swaying back and forth between the sentimentality of love and the practicality of an estate manager was Perdue, utilizing her crisp diction and sisterly sense of care to aid all of the onstage relationships with a loving smile.
Encapsulating the stage in an immersive space was the show's sound, done by Jacque Patterson, Jillian Pierson, and Luther Beckett. The designers avoided the typical norm of giving each actor an individual microphone and instead utilized overhead boom mics to give the show a more realistic and natural feel. Spatial audio was cleverly implemented along with sound effects to make the audience feel like sound was coming from various parts of the room. Also notable was the show's stage crew (Miranda Naser-Kuntz, Nominsor Munkhbold, Dai'Rena Easter, Justise McKinney), who moved on and offstage incredibly fluidly to both change the set and guide the tone of the production.
With a striking message of the driving need to adapt to change, Duke Ellington School of the Arts leaves the audience with thoughts of their own sentimentality in their production of The Cherry Orchard.
Written by Noah Kirkland of Quince Orchard High School
White columns framed by cherry blossoms adorn the Duke Ellington Theatre stage like faded sentinels of Southern splendor, paint marred by the eternal handprints left by those that came before. A grand living room sits below frozen in neglect, chairs draped in ghostly white sheets, light tracing faint patterns across furniture long untouched. As the lights dimmed, the story of The Cherry Orchard unfolded in lush, bittersweet beauty.
Anton Chekhov's The Cherry Orchard tells the tale of a family caught in the shifting tides of time, struggling to accept the end of an era while clinging to the illusion of permanence. Premiering in 1904 at the Moscow Art Theatre, the play became a cornerstone of modern drama, its melancholy and humor enduring through countless revivals. Duke Ellington School of the Arts' choice to transport the story to 1903 New Orleans gave vivid new life to Chekhov's themes, layering them with the social and cultural complexities of the post-Reconstruction South, without compromising emotional truth.
As Andrea, Kayla Parker delivered a performance equal parts heartbreaking and hilarious. Her ability to switch from spirited wit to shattering grief was electric, each outburst and laugh arriving with startling authenticity. In her sorrow over the estate's loss, Parker's trembling voice and vacant gaze drew a hush from the audience, as if her pain filled every corner of the room. Her chemistry with Tar'El Barnes's practical Lopakhin and Penelope Meier's tender Anya deepened Andrea's portrait of a woman torn between hope and helplessness, layered masterfully with nostalgia and regret.
As Gayev, Zion Belmar-Francois brought the stage to life with impeccable comedic timing and effortless charm. His line delivery, sometimes buoyant and grandiose, other times delicately wistful, earned both laughter and sympathy. Even in silence, Belmar-Francois' physicality commanded attention; every gesture seemed intentional, his expressive face hinting at the humor and heartbreak beneath Gayev's flamboyance. Of note is his natural rapport with Parker, turning moments of sibling banter into genuine tenderness, grounding their crumbling world with familiar warmth.
Sound designers Jacque Patterson, Jillian Pierson, and Luther Beckett transformed the theatre into an enveloping experience of sight and sound. Their innovative use of three choir mics and three shotgun mics created an organic acoustic landscape that made each scene pulse with authenticity. Speaker positions throughout the space pulled the audience directly into the family's world: barking dogs in the distance, shoes squeaking across worn wooden floors, and, most hauntingly, the chopping of trees echoing in the final moments. The sound of the orchard's demise became a chilling symbol of inevitable change.
Marketing and publicity, led by Carmen Ortiz, Paola Winston-Vazquez, Kayla Parker, and Julia Gorman, ensured the house was full each night. Ortiz's striking poster design, revised meticulously through multiple drafts, captured the play's lush melancholy while modern QR codes made ticket access effortless. The team's strategic social media campaign and inventive bake sale promotion aided in this endeavor to promote creativity and dedication, filling the theatre with eager anticipation that matched the onstage artistry.
From its vibrant New Orleans setting to its raw performances and immersive design, Duke Ellington School of the Arts' The Cherry Orchard was nothing short of transformative. The production breathed new soul into Chekhov's century-old masterpiece, turning decay into something dazzling. As the final sound of falling trees and beating drums faded, one couldn't help but think perhaps some orchards were meant to fall, just to remind us of how beautiful they once were.