The audio description of will be delivered live by Guildhall School Technical Theatre Arts student Ben Cook via headsets to the blind and visually impaired audience members. The touch tour is a chance to visit the set, feel the props, and enhance your enjoyment of the show, and will also involve a chance to meet the actors and hear their voices. Programme notes will be pre-recorded and sent out to all the patrons a few days prior to the show, and read live 15 minutes before the show starts. These programme notes will describe the set, the characters and costumes, and important notes about the show.
The Cherry Orchard
By Anton Chekhov. This new version is by Stephen Karam; directed by Simon Godwin; sets by Scott Pask; costumes by Michael Krass; lighting by Donald Holder; sound by Christopher Cronin; hair and wig design by Paul Huntley; movement by Jonathan Goddard; original music by Nico Muhly; music coordinator, John Miller; literal translation, Allison Horsley; magic consultant, Paul Kieve; vocal coach, Kate Wilson; flight consultant, Thomas Schall; production stage manager, Jill Cordle; production manager, Aurora Productions; general manager, Denise Cooper; associate artistic director, Scott Ellis. Presented by Roundabout Theater Company, Todd Haimes, artistic director; Julia C. Levy, executive director; Sydney Beers, general manager; Steve Dow, chief administrative officer. Through Dec. 4 at American Airlines Theater, 227 West 42nd Street, Manhattan; 212-719-1300, . Running time: 2 hour 15 minutes.
WITH: Diane Lane (Ranevskaya), Chuck Cooper (Pischik), Tavi Gevinson (Anya), John Glover (Gaev), Celia Keenan-Bolger (Varya), Harold Perrineau (Lopakhin), Joel Grey (Firs), Kyle Beltran (Trofimov), Tina Benko (Charlotta), Susannah Flood (Dunyasha), Maurice Jones (Yasha), Quinn Mattfeld (Yepikhodov), Peter Bradbury (Passer-by), Philip Kerr (Station Master) and Lise Bruneau, Jacqueline Jarrold, Ian Lassiter and Carl Hendrick Louis (Ensemble).
The first night of The Seagull , at the Alexandrinsky Theatre in St. Petersburg on 17 October 1896, was a fiasco, as the play was booed by the audience, stinging Chekhov into renouncing the theatre.  But the play so impressed the theatre director Vladimir Nemirovich-Danchenko that he convinced his colleague Konstantin Stanislavski to direct a new production for the innovative Moscow Art Theatre in 1898.  Stanislavski's attention to psychological realism and ensemble playing coaxed the buried subtleties from the text, and restored Chekhov's interest in playwriting.  The Art Theatre commissioned more plays from Chekhov and the following year staged Uncle Vanya , which Chekhov had completed in 1896.