Indeed, when Russian playwright Anton Chekhov’s (1860–1904) “The Three Sisters” opened in Moscow in 1901, audiences were originally not very enthused. That’s because Chekhov was exploring a new style of dramatic presentation. He replaced the expected declamatory acting style of theater of the time with a naturalistic realism of psychological and emotional honesty. Rather than the romantic presentation of life as it could be, Chekhov wanted to show life as it is.
When director Konstantin Stanislavsky (1863–1938) was able to plumb the depths of the new dramatic style in a production for the Moscow Art Theater, which he co-founded, “The Three Sisters” became a big success. The popularity of the play continues to this day, in productions like the one that recently opened at the Invictus Theatre in Chicago’s Windy City Playhouse.
The play revolves around three sisters and their brother who are unhappy with their lives, but aren’t motivated enough to change their circumstances. They are cultured and educated, but stuck in a small, provincial town. They are fixated on recapturing the sophistication of Moscow, the city where they spent their youth and which they believe is more conducive to their elitist values.
Dreams and Reality
There are two tragedies in this drama. One is that everyone seems to be partnered with the wrong people, and the second is that they can’t escape from the daily rut of their lives. The conflict between dreams and reality is the main thread that runs throughout the play.
Well directed by Charles Askenaizer, this production is faithful to Chekhov’s classic, and Paul Schmidt’s translation makes the work fully accessible to American audiences.
Character Driven
Since the play is all about character, it is of utmost importance that the performers are able to flesh out insightful psychological portrayals. These are difficult roles to tackle, and to their credit, the Invictus ensemble rises to the occasion.
Maria Stephens delivers a heartfelt portrayal of Olga, the unmarried schoolteacher who yearns for a husband; Katherine Schwartz is compelling as Masha, who goes from an unhappily married woman to one in the throes of an illicit love; and Ellie Duffy who is terrific as the spoiled and willful Irina. Moreover, Michael B. Woods stands out as the weak-willed brother Andrey who wastes the family’s inheritance, and Cat Hermes is riveting as Natasha, the hard-hearted sister-in-law who appears an unsympathetic villain.
In addition, characters that impact the lives of the sisters include the optimistic Lt. Col. Vershinin, with whom Masha is smitten, and who is portrayed elegantly by Bryan Breau. Kulygin, the schoolmaster, who believes he might have been happier marrying his sister-in-law instead of Masha, is given a nice turn by Francis Brady, and Captain Solyony, who is charmed by Irina, is well portrayed by John Wehrman.
In “The Three Sisters,” the Prozorov family has the money to move to Moscow; they have the intelligence and health to do so. But they remain stuck in circumstances that they could change. Why? By the play’s end, we are left with that question, the explanation of which may be of great importance. Why do so many people today do the same? Perhaps in “The Three Sisters,” Chekhov provides us with an answer.
