Simon Stone, an Australian-born writer and director, has adapted Anton Chekhov’s classic play "The Cherry Orchard" into a Korean-language production that premiered in 2024 at the LG Arts Center in Seoul. The production reimagines Chekhov’s narrative within the context of contemporary South Korea, focusing on the dynamics of a chaebol family—the country’s powerful and wealthy corporate dynasties.
Stone, 42, whose work often reshapes classic dramas for modern audiences, drew parallels between the sociopolitical upheavals of late 19th-century Russia and the rapid social changes currently taking place in Korea. He sees similarities in the emergence of new social classes challenging traditional hierarchies, a theme central to both Chekhov’s original work and his adaptation.
In Stone’s reinterpretation, the aristocratic household of the original becomes a chaebol family struggling to maintain control amid financial and societal shifts. The character of Ranevskaya is portrayed as Song Do-young, played by acclaimed actress Jeon Do-yeon, who returned to theater after 27 years. Song is depicted as a wealthy, alcoholic heiress recently back from New York, unable to face the looming downfall of her family’s business. Opposite her, Park Hae-soo, known for his role in "Squid Game," plays Hwang Doo-sik, the son of the family’s former chauffeur who has risen to become a successful businessman offering solutions to save the family enterprise—though his advice is largely ignored.
The production’s development was notably collaborative and immersive. Stone arrived in Seoul in January 2024 to workshop the play with the actors over the course of a week, engaging deeply with Korean culture and the actors’ personal stories. The rehearsal process diverged from traditional methods: the script was developed gradually, with Stone sending daily materials from London for translation and later discussing them via Zoom with translator and dramaturg Yi Dan-bi. The actors focused heavily on embodying their characters rather than memorizing lines, allowing for a naturalistic and nuanced performance.
Yi, who translated the script and helped shape the adaptation, highlights the tension between Korea’s rigid, hierarchical social structures and its rapid modernization—a core theme reflected in the play. “There is a very vertical structure in Korean society,” Yi said, describing how generational differences play a significant role in communication and power dynamics. Stone agreed, noting that age determines linguistic forms of address in Korea, making the younger generation’s questioning of elders particularly provocative.
The production received a positive response in Seoul, with a sold-out monthlong run before traveling to performances in Hong Kong, Singapore, Australia, and New York. Stone reflected on his experience as a cultural outsider entering a majority society, emphasizing the surreal yet rewarding nature of seeing his English-language work resonate with Korean audiences. He praised the Korean actors for their ability to navigate the emotional shifts characteristic of Chekhov’s work—the interplay of suffering and humor.
Stone first became interested in Korean cinema after seeing Park Chan-wook’s 2003 film "Oldboy," praising its genre-bending style and emotional honesty. These influences helped shape the tone of his adaptation, which strives to engage with both the cultural specificity of Korea and the universal themes in Chekhov’s work.
The Korean "Cherry Orchard" underscores ongoing conversations about tradition, modernity, and social change, bridging classic Russian literature with contemporary Korean realities.