THREE SISTERS. To 11 October.
Manchester.
THREE SISTERS
by Anton Chekhov translated by Michael Frayn.
Royal Exchange Theatre To 11 October 2008.
Mon-Sat 7.30pm Mat Wed & Sat 2.30pm.
Audio-described 27 Sept 2.30pm.
BSL Signed 4 Oct 2.30pm.
Post-show Discussion 8 Oct 7.30pm.
Runs 3hr 10min One interval.
TICKETS: 0161 833 9833.
www.royalexchange.co.uk/bookonline
Review: Timothy Ramsden 22 September.
Finely-played by the trio of sisters, with a restraint that throws light on those around them.
This play’s philosophical speeches often seem strangely authorial for the normally unassertive Chekhov, or merely set a general atmosphere of melancholy wishing. Not in Sarah Frankcom’s highly intelligent revival. Here, Mark Bonnar’s quietly authoritative optimism about the future as Vershinin fits his happiness at finding the girls he knew in Moscow now grown into cultured provincial ladies.
His manner draws others sympathetically in, especially Emma Cunniffe’s Masha. Her response to her sister’s sarcasm about being unhappy was to put on her black hat to depart. Vershinin’s manner makes her take it off and stay. Throughout, the three sisters are restrained, making it a powerful moment when Masha finally flings herself at her departing lover, having to be dragged away.
This isn’t the only moment foreshadowing Chekhov’s final drama, Cherry Orchard - where Varya and Lopakhin part without admitting their mutual love. The axing of the orchard is pre-echoed in the changes (including tree-lopping) Polly Findlay, as the sister-in-law, plans.
Findlay’s Natasha isn’t a monster; she’s a practical person happy in her provincial world, making do with a smattering of hypocrisy, genuinely loving her children, practical and uncursed by the Prozorov women’s dreams, walking sensibly with a candelabra through the thirds act’s bedroom. She talks of fundraising for the fire victims and old Anfisa (Ann Firbank, excellent) quietly blossoms, in an attractive traditional dress, when dismissed by Natasha from the demanding work that had her doubled-up during the fire, to an old folks’ home.
As Natasha's husband, and the sisters' brother, Joseph Kloska’s Andrey seems to grow paler, more whiskery, stiff and stooping act by act. His confessionals and peremptory temper with old Ferapont acquire vividness from Tim Barlow’s natural sense of detachment as the deaf old man.
As Olga moves from black, and young Irina from happy white, to the tightly-clothed formality of their jobs, the impact of time over hope is evident. Each character is freshly considered, including Christopher Colquhoun’s outstanding Tusenbach, his eagerness in philosophy an off-putting contrast to Vershinin, and Kulygin, tactfully hovering, pulling out the confiscated beard to lighten the atmosphere, given sympathy by Roger Morlidge.
Irina: Beth Cooke.
Masha: Emma Cunniffe.
Olga: Lucy Black.
Andrey: Joseph Kloska.
Natasha: Polly Findlay.
Vershinin: Mark Bonnar.
Baron Tusenbach: Christopher Colquhoun.
Solyony: Laurence Mitchell.
Kulygin: Roger Morlidge.
Chebutykin: Michael Elwyn.
Ferapont: Tim Barlow.
Anfisa: Ann Firbank.
Fedotik: Chris Jared.
Rode: Howard Charles.
and Ryan Cerenko, Ashley Gerlach, Daisy Marsden, Cheralene Lavery.
Director: Sarah Frankcom.
Designer: Liz Ascroft.
Lighting: Chahine Yavroyan.
Sound: Claire Windsor, Pete Rice.
Composer: Jamie Norton.
Assistant director: Rania Jumally.
Design assistant: Amanda Stoodley.
2008-09-25 14:17:58