If any work of art epitomizes despair, it is Anton Chekhov’s “Three Sisters.”
The Prozorova sisters of the title, stuck in a provincial backwater, dream of returning to the Moscow of their youth – both a genuine hope and a symbol of their lack of realism and desire to anesthetize themselves.
The marriages in the play are unfulfilling, or worse, and adultery has become common. One sister hasn’t found love at all.
Studio Theatre is to be commended for taking on the challenge. Under the direction of Jackson Gay, the exuberance of the production almost but not quite overcomes the underlying sadness and frustration. It also moves a long play at a quick place.
The characters keep going on and on about the need to work — was Chekhov presaging the Communist Revolution? – but they find little meaning in what they do.
Yet, they do speak endlessly about their dreams and hopes, whether likely to be fulfilled or not. They philosophize about the human condition in general. “Three Sisters” has plenty of humor, sometimes witty and sometimes raucous, as if laughter, wine, and parties will compensate for the grimness of life.
This is a difficult play to present. It’s been called “elusive,” partly because the characters sometimes seem to be doing things that come out of nowhere (or have unclear motivations) and there are stretches in which little happens in the way of plot. As dramaturg Lauren Halvorsen, wrote: The characters “articulate themselves in fragments and disjoined expression; they approach their feelings sideways.”
Studio Theatre is to be commended for taking on the challenge. Under the direction of Jackson Gay, the exuberance of the production almost but not quite overcomes the underlying sadness and frustration. It also moves a long play at a quick place.
The play is sometimes spoofed – especially the Moscow mantra – and, in fact, Aaron Posner’s reimagining of Chekhov’s work, called “No Sisters” is simultaneously showing at the theatre. (The program cleverly has both plays incorporated, each starting in a different direction.)
Chekhov has given her less to do than the others, but as Olga, the eldest, Bridget Flanery conveys the motherly solicitude she feels for her sisters. Caroline Hewitt is moving as Masha, the unhappily married woman involved in an affair that ends painfully. Todd Scofield is on target as her loving but silly and bombastic husband. Emilie Krause is believable as Irina, the young and still flighty younger sister who marries not for love and loses the man anyway. Ryan Rilette (artistic director of Round House Theatre) as their brother, Andrey, portrays him less pathetically than he is sometimes played.
Kimberly Gilbert’s Natasha, Andre’s wife, is self-involved and unfaithful, but less mean than might be expected. Ro Boddie makes Baron Tuzenbach, one of Irina’s suitors, then husband, a fully realized character. Greg Stuhr is spot on as Vershinin, the colonel with a suicidal wife having an affair with Masha. Craig Wallace experiences all the highs and lows of the Army doctor Chebutykin and Nancy Robinette is memorable in the small part of Antisa, the family’s nurse.
Translator Paul Schmidt has written of his (and the playwright’s) goal to make the language normal, but his English text at time reads as more contemporary than a work written in 1900.
Daniel Conway cleverly incorporates birch trees into the set, and costume designer Jessica Ford has created not only a great many uniforms but the sisters’ beautiful dresses. Original music is by composer James Barry. In a nice final note, musical ensemble plays as audience members – who were very enthusiastic – exit. Many stayed around to clap.
Running Time: Three hours with a 15-minute intermission.
Advisory: Ages 14 and up. References to sexual activity and violence but none onstage (except a passionate hug and kiss).
“Three Sisters” is playing through April 23 in Studio Theatre’ first-floor space, 1501 14th Street, NW, Washington, DC 20005. For information and tickets call 202.332.3300 or click here.