Some-thin' that's Rus-sian/With prose that's crush-in'/Blood and tears gush-in' out/A Com-e-dy To-Night!

Well, there is no blood gushing, but Anton Chekhov's last play, “The Cherry Orchard” which opened Friday at the University of Florida's Constans Theatre has enough Slavic pathos to fill a samovar. Yet through the exemplary vision of director Mikell Pinkney, the serious themes of the play are balanced with humor that freshens and modernizes this 1904 masterpiece, making it very enjoyable. Dr. Pinkney accomplishes this the lightening by the clever use of inflection, caesura, emphasis, physical comedy and farce.

A brief description of the plot will give you an indication of the hilarity contained in this play: Madam R, an aristocrat, returns to the family estate from Paris as the play opens. The family has fallen on hard times and the estate is going to be sold if debts aren't met. Madam R's adopted daughter has been overseeing the property in her absence. A number of additional servants, landowners and others show up to greet Madam R. The main topic of conversation concerns the fate of the famous cherry orchard, which comprises a good portion of the property. Madam R and her feckless brother hope to borrow the money to save the plantation. Eventually an auction is held and the whole kit and caboodle is bought by a guy who kicks the family out and cuts down the orchard.

Now you see why Dr. Pinkney deserves credit for squeezing a lot of laughter out of this scenario. Directors ever since Stanislavski have chosen to emphasize the play's dramatic aspects. If you had to study this play in college, you probably thought it was a pretty serious too. After all, it was Chekhov!

The servant class provides much of the levity. Libby Arnold (Dunyasha) opens the play with great comedic timing as an irreverent, lovesick parlor maid. Marcus Thomas (Yasha) and Christopher Kite (Yepikhodov) serve the household and the cause of humor in the play. Kevin-Michael Chu (Firs) plays an 87-year-old retainer with an absolute commitment to character and a believability that is remarkable. He never tries to be funny but has some of the best moments in the show. Kim Meade (Charlotta) as the family's governess has a decidedly strange persona as a crabby Fraulein with a little dog who entertains the crowd with magic tricks. D. Christopher Wert (Simeonov-Pishchik) is not a servant, but is very funny as a landowner who, if this were an English comedy, would be a caricature of the British squire.

Robyn Berg (Madam Ranevskaya) is wonderful as the matriarch whose inability to cope with life is tragic. She is one of the five characters whose job it is to carry the story forward and who remain serious throughout the play. The other four are Michael T. Toth (Lopakhin), Daniel Flores (Trofimov), Ericka Winterrowd (Anya), and Lauren Nordvig (Varya), with Nordvig standing out in a forceful performance.

Denis McCourt (Gayev) is Madam R's brother who straddles the fence between the serious elements and the comedic. The thing that makes Gayev funny is that he is so eccentric it's impossible not to laugh.

Sound design by A.J. Quinn provides music and effects that are valuable additions to the production. The selection of modern tunes while interesting does not fit the play as well as other choices such as the Tchaikovsky barcarolle “June” which is heard a number of times.

Scenic design is by Jenn Scheller, who has created a striking set consisting of three gigantic panels of textured surfaces, two of which are adjusted between each act to create context for the action. The third panel forms the template for a stencil of an immense tree which is only suggested until the end of the play.

Costume design by D.K. Shaffer and its realization by Maureen S. Demers and her drapers resultsing in beautiful period clothes.

Lighting designer Charles Perry makes an outstanding addition to the set by creating a mood of elegance and mystery.