REVIEW: Three Sisters (Piven Theatre Workshop)

   
   

Chekhov’s naturalist classic enjoys lively revival at Piven

 

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Piven Theatre Workshop presents
 
Three Sisters
   
Written by Anton Chekhov 
Adapted by
Sarah Ruhl
Directed by Joyce Piven
at
Noyes Cultural Center, Evanston (map)
thru November 21  |  tickets: $25  |  more info

Reviewed by Oliver Sava

For sisters Olga (Joanne Underwood), Masha (Saren Nofs-Snyder), and Irina (Ravi Batista), the road to Moscow is long and bumpy in Piven Theatre’s finely acted, elegantly directed production of Chekhov’s naturalist classic Three Sisters. Tethered to their provincial town by occupation, spouse, and status, they struggle to find the meaning in their tiresome existence, dreaming of a utopian Moscow that is just out of reach. As their hopes fall apart around them, they learn that the only people they can trust are each other, and the three actresses develop the relationship between the Smith, Barnes, Nofs-Snyder - Vwomen beautifully. Under the guidance of director Joyce Piven, the relationships between the sisters and the men around them come to life, creating believable drama that is thick with emotion.

For Olga and Irina, the oldest and youngest, returning to Moscow is not near the fantasy it is for their middle sister Masha, in a loveless marriage with tenuous schoolteacher Kulygin (Brett T. Barnes), and Nofs-Snyder’s melancholic portrayal of Masha captures the sense of helplessness that defines the character. When the handsome Lieutenant Colonel Vershinin (Daniel Smith) enters Masha’s life, she is given a reason to live, and their romance smolders despite Smith’s distracting dialect. The first kiss between the two is one of the highlights of the production, a wonderfully awkward moment filled with hesitation that erupts into lust as the creaking of the wooden sofa breaks through their sensual silence.

Masha is the heart, Irina the soul, and Olga the mind of the play, allowing these core elements to dictate the direction of their lives. Meanwhile, their brother Andrei’s (Dave Belden) wife Natasha (Amanda Hartley) lacks all three, and she sucks them from her husband as the story progresses. A petulant, anxious ice queen with a superiority complex and unhealthy levels of self-righteousness, Natasha is played with villainous gusto by Hartley, who fearlessly depicts the character’s power trip once she marries Andrei. Her treatment of house servant Anfisa (Kathleen Ruhl, mother of adapter Sarah) is appalling, and creates great conflict with Olga, who cherishes Anfisa like a member of the family.

Ruhl, Batista - HDirector Joyce Piven uses the space beautifully, crafting spatial relationships to build tension between characters that explode when they finally come together. Solyony (Jay Reed), the play’s most combustible character, hates everything and never backs down from an argument, his intense misery venturing into comedic territory in its exaggeration. His love for Irina, a love shared by Baron Tuzenbach (Andy Hager), is unreturned by the youngest sister, who is more concerned with discovering fulfilling work than a man. Batista gives an emotionally resonant performance, especially as Irina begins to understand the kind of work available to her in town, but there’s a maturity in her voice and carriage that takes away from the character’s youthful energy. There is an early moment when Vershinin describes the sisters’ old home in Moscow and the older two’s faces become teary-eyed at the memory while Irina struggle to recapture the image, likely too young to truly remember. It’s a small moment, but it helps solidify her position in the trinity.

It’s a good time to be a Chekhov fan in Chicago. Goodman’s The Seagull (our review ★★★★) as the theatrical theory and situational humor, while Three Sisters eloquently showcases Chekhov’s philosophical genius and occasionally nihilist world view. As the lights go down on the three sisters standing united against the world, it’s like they are watching Moscow burn before their very eyes. The power of these three women together is the play’s beauty, the reality of their circumstance its tragedy.

   
   
Rating: ★★★
 
 

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Cast:

Ravi Batista* (Irina)
Saren Nofs-Snyder (Masha)
Joanne Underwood (Olga)
Brent T. Barnes (Kulygin)
Dave Belden (Andrei)
Marcus Davis (Fedotik)
Kevin D’Ambrosio (Ferapont)
John Fenner Mays (Chebutykin)
Andy Hager (Tuzenbach)
Amanda Hartley (Natasha)
Jacob Murphy (Rode)
Jay Reed (Solyony)
Kathleen Ruhl (Anfisa)
Dan Smith (Vershinin)
Susan Applebaum (Understudy – Anfisa)

 

Production Staff:

Producer: Jodi Gottberg
Production Stage Manager: Wendy Woodward*
Scenic Design: Aaron Menninga
Technical Director: Bernard Chin
Lighting Design: Andrew Iverson & Alex Bradford Ruhlin
Costume Design: Bill Morey
Composition & Sound Design: Collin Warren
Sound Engineer: Alex Bradford Ruhlin
Properties Design: Jesse Gaffney
Asst. Director & Dramaturg: Stephen Fedo
Asst. Stage Manager: Chad Duda
Asst. to the Director: Skye Robinson Hillis
Costume Assistant: Melissa Ng
Production Intern: Nathaniel Williams

* Member, Actors Equity Association

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Chicago Theater – Best of 2008 (Chicago Sun-Times)

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 Hedy Weiss, theater-critic extraordinaire for the Chicago Sun-Times, has put together an excellent list of her 10 favorite plays of 2008.  Along with the list, Hedy notes the wonderful year Chicago theater has had on the national stage:

…this was the year that Steppenwolf Theatre picked up five Tony Awards for its Chicago-bred Broadway production of Tracy Letts‘ “August: Osage County” before the cast crossed the pond to remount the show at London’s National Theatre, and when the Chicago Shakespeare Theater was feted with the “Best Regional Theater” Tony.

Continuing:

But that was just the beginning. Next Theatre‘s production of the new musical “Adding Machine,” was hailed in its Off Broadway incarnation, with director David Cromer racking up plaudits for his work on that show, as well as for his revelatory revivals of “Our Town” (at the Hypocrites) and “Picnic” (at Writers’ Theatre). Profiles championed the work of incendiary playwright Neil LaBute to grand effect. Remy Bumppo earned laughs with its tale of financial chicanery in a revival of an Edwardian classic, “The Voysey Inheritance.” And director Sean Graney experimented boldy with productions of “The Threepenny Opera” and Marlowe‘s “Edward II.”

 columbinusruinedcolumbinus2 amadeus

Now here are Hedy Weiss’s favorite productions in 2008:

 

1. Caroline or Change  (Court Theatre)
by Tony Kushner and Jeanine Tesori
Standouts: Charles Newell (director), Doug Peck (musical director); performances: Malcolm Durning, E.Faye Butler
     
2. Ruined  (Goodman Theatre)
by Lynn Nottage
Weiss comments: Worthy of a Pulitzer Prize, the play will soon move to New York’s Manhattan Theatre Club.
 
     
3. Gatz  (Elevator Repair Service Theatre)
by John Collins
 
     
4. Our Town  (The Hypocrites)
by Thornton Wilder
Standouts: David Cromer (director)
 
     
5. Requiem for a Heavyweight  (Shattered Globe)
by Rod Serling
Standouts: Lou Contey (director)
 
     
6. Amadeus  (Chicago Shakespeare)
by Peter Schaffer
Standouts: Gary Griffin (director), Daniel Ostling (set designer); performances: Robert Sella, Robbi Collier Sublett, Elizabeth Ledo, Lance Baker
 
     
7. As You Like It  (Writers’ Theatre)
by William Shakespeare
Standouts: William Brown (director), Performance: Larry Yando
 
     
8. Drowsy Chaperone  (Cadillac Palace Theater)
by Laura Wade
Standouts: Casey Nicholaw (director)
 
     
9. Around the World in 80 Days  (Lookingglass)
Standouts: Laura Eason (adaptor/director); Performances: Philip R. Smith, Kevin Douglas, Joe Dempsey, Ravi Batista, Anish Jethmalani, Ericka Ratcliff, Nick Sandys and Rom Barkhordar
 
     
10. Columbinus  (Raven Theatre)
by Stephen Karam and P.J. Paparelli
Standouts: Greg Kolack (director); Performances: Matthew Klingler and Jamie Abelson
 

To see the Hedy Weiss’s complete description and thoughts on her favorite plays, click here.