{"id":12495,"date":"2022-06-10T00:04:26","date_gmt":"2022-06-10T04:04:26","guid":{"rendered":"https:\/\/www.arlekinplayers.com\/?p=12495"},"modified":"2022-06-12T00:14:50","modified_gmt":"2022-06-12T04:14:50","slug":"the-new-yorker-review","status":"publish","type":"post","link":"https:\/\/nashboston.com\/arlekinplayers\/the-new-yorker-review\/","title":{"rendered":"The New Yorker Review"},"content":{"rendered":"\n

Mikhail Baryshnikov, at seventy-four years old, isn\u2019t done experimenting. At the midtown venue that bears his name, Baryshnikov Arts Center, he stars in \u201cThe Orchard\u201d<\/strong> (in previews, opening June 16), a four-dimensional adaptation of Chekhov\u2019s \u201cThe Cherry Orchard,\u201d conceived by the Ukrainian-born director Igor Golyak. Spectators can choose between watching the immersive production either live or online, in a version that wraps the action in a virtual environment, re-creating the fallen Russian estate of the play and weaving in Chekhov\u2019s letters. The trappings are newfangled, but the theme of losing the world you once knew echoes through the ages. The always incisive Jessica Hecht plays Ranevskaya, the bankrupt aristocrat; Baryshnikov doubles as the elderly manservant Firs, and as Chekhov himself.<\/p>\n\n\n\n

\u2014\u00a0Michael Schulman<\/a><\/span><\/p>\n\n\n\n

https:\/\/www.newyorker.com\/goings-on-about-town\/theatre\/the-orchard-06-20-22<\/a><\/p>\n\n\n\n

\"The<\/figure>\n","protected":false},"excerpt":{"rendered":"

Mikhail Baryshnikov, at seventy-four years old, isn\u2019t done experimenting. 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