712 SEER, 88, 4, OCTOBER 2OIO knowledge ofthelanguage,and he certainly used theFrenchtranslation, so theRussianwordsmaybe a smokescreen. Edmondsis themostinclinedto pullhertextintotheworldofEnglish culture, whilePevearandVolokhonsky, as one might expect,makethemostconsistent attempt to mirror thesyntax oftheoriginal, evenat thecostofsomeawkwardness. Chaptertwoprovides a usefuloverview ofthesuccessionoftranslations and theirrelationto one another. The comparisons thatmakeup thebulkofthebook are conductedvery muchat a local level.Chapterthreeconcentrates on culture-specific items in thetext,mostofthemveryfamiliar to thosewho have thought aboutor engagedintranslation betweenRussianand English - a somewhat randomseemingvariety of topicssuch as formsof address,weightsand measures, idioms,word order,the ty/vy distinction and the use of participlesand gerunds. There are somehelpful tabularpresentations, buttheusualprocedureis to givea Russiansentence witha literaltranslation, followed bythe fivedifferent Englishversions.The same rathercumbersomemethodis employed fortheothermainfieldofinterest, thespecific features ofTolstoi's style, together withthestylistic differentiation between characters questions suchas repetition, compoundepithets, pointofview,peasantspeechand the continuous present. The thesisformat is no doubtresponsible fora certainnarrowness. One mighthave wishedfora wider-ranging discussionof the visionof Tolstoi and his novelimpliedby a giventranslation strategy, and ofmoregeneral questionsin translation history suchas thechanging audience,theinputof publishers, and thevarying socialand educational function ofliterary translation .But Birdwood-Hedger offers a carefulanalysisoftextualdetail,which allowsher to characterize the workof her fivechosentranslators and to pinpoint someoftheproblems theyfaced. SchoolofLiteratures, Languages and Cultures University ofEdinburgh Peter France Loehlin, JamesN. Chekhov: TheCherry Orchard. PlaysinProduction. Cambridge University Press,Cambridge,2006. xi + 248 pp. Illustrations. Notes. Bibliography. Index.£45.00; £17.99. James N. Loehlin,oftheUniversity ofTexas atAustin, haswritten a valuable, thoughtful, conscientious survey ofa century ofproductions ofChekhov'slast play,concentrating particularly (butnotexclusively) on Russiaand theSoviet Union, England and America.In his Introduction the authorcomments sensibly on Vishnevyi sad:'In thecentury sinceitsfirst performance, ithas seen a widerangeofconflicting interpretations: tragicand comic,naturalistic and symbolic, reactionary and radical.It has beenperformed as a lamentforthe dispossessed Russian gentry and as a call to revolution, as a vehiclefor detailedpsychological actingand as an abstract theatre-poem, as a somber family dramaand as a cartoonish vaudeville.[.. .] Indeed,theseconflicts are REVIEWS 713 wovenintothestructure oftheplayitself, whichcombines farcical and serious elements, clinicalnaturalism and visionary symbolism, a longing lookto the pastand a hopeful dreamofthefuture' (p. 1). There can be no singlecorrector staticinterpretation of Vishnevyi sad; different directors willinterpret theplayaccording totheir owntemperament and outlookand according tothetimesinwhichtheylive.Loehlinbeginshis study withtwoinformative chapters examining theinnumerable interpretive choiceswithin Chekhov's textandretelling thehistory ofthehighly influential first Moscow ArtTheatreproduction of 1904.In thefollowing six chapters Loehlin'sdeclaredaim (whichhe substantially fulfils) is to 'focuson a few majorproductions thatseem to me to embodya vitalphase in theplay's ongoinglife':'Sometimestheseare withina particularnationaltradition; moreoftentheyare groupsof linkedproductions fromdifferent countries, coinciding at keymoments ofcultural and theatrical history' (p. 6). In thecore ofhisbook theauthorjudiciouslydiscussesnumerousmajor productions of Vishnevyi sad- Russianand Sovietperformances, 1 904-1953; early English-language productions;the play in mid-century (Barrault, Saint-Denis,Strehler); radicalrevisions, 1975-77;Brookand Stein,1981-97 - before presenting a finaloverview. The namesofothertalented directors pass acrossthepages - Meierkhol'd, Fagan,Komissarzhevskii, Guthrie, Le Gallienne, Efros, Serbanand manymore. Perhapsinevitably, sucha survey volumehas a numberofshortcomings. The authorprovidesa gathering ofknownmaterial rather thana discovery ofnew sources.Loehlinadmitsin hisAcknowledgments: 'I have depended heavilyon the previousworkof many scholarsof Chekhovand Russian theatre,includingDavid Allen, Vera Gottlieb,Ronald Hingley,Donald Rayfield, Konstantin Rudnitsky, Tatiana Shakh-Azizova, Anatoly Smeliansky, and Nick Worrall.I am particularly indebtedto the work of Laurence Senelick,especiallyhis magisterial studyThe Chekhov Theatre' (p. x). This dependence on earlier research mayat timesseemexcessive. Thus,insteadof turning totheoriginal Russiantexts, Loehlinrelieson Benedetti and Hingley fortranslations ofvariousletters, and on Allen,Pitcher, Senelickand Worrall forothersourcematerial.There is littleevidencethatLoehlinhimself has searchedforpressreviews ofpastproductions. A second limitation lies in the range of presentations recorded.Quite properly, theauthorchoosesto concentrate on innovatory or landmark performances , andyethisvolumefailstoprovidethe'chronology ofproductions' promised on theback coverforthisseries.Concerning thefirst half-century ofproductions in England,Loehlinconsiders onlythoseof 191 1,1920,1925, 1926,1933,1941and 1961,butdoes notevenmention thethreeversions of TheCherry Orchard whichreachedLondonin 1948,or Gielgud's1954productionat theLyric,Hammersmith. As a result, no assessment is attempted of thewidelyacclaimedRanevskaiasofGladysBoot and EdithEvans (1948)or GwenFfrangcon-Davies (1954),and no evaluation is offered ofthedirectorial achievements ofJohnFernaldand Hugh Hunt(1948)orJohnGielgud. Some Russiannamesand wordsare mangled- Khaputina(pp. viii,85, forKhalyutina, p. 45),V. S. (forV. E.) Meierkhol'd(pp. 5, 247),Federovna 714 SEER, 88, 4, OCTOBER 2OIO Andreyevna (for FedorovnaAndreyeva, pp. 43,245),Torporov(for Toporkov, pp. 70, 248), Kholkov(forKhokhlov,pp. 85, 86, 246), Turshkin, Leonard (p. 248), ^Jiizin (pp. 232, 242), Vishnyovovo (pp. 232, 240). There are wrong...