Out of Character
An arresting new interpretation
of Chekhov's classic 'The Three Sisters' forgoes the usual melancholic sighs for
a loud, rage-filled tour de force.
The Moscow Times
By John Freedman
Published: March 12, 2004
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Lord knows I have complained often enough about
the decade-long pandemic of copycat Chekhov productions that we constantly must
slog through. They remind me of a phrase my father used to use, one whose logic
I never could quite crack -- "it's all the same difference." Now, from the
daunting heights of personal experience that I have attained in more decades of
life than I wish to admit, I have come to realize that Dad meant something like
all those dozens, nay, hundreds, of Chekhov productions that, for all their
differences, are, in fact, spot-on identical.
But there is always
something ready to come along and burst your bubble, isn't there?
In this
case, I mean an arresting new interpretation of Chekhov's "The Three Sisters,"
the tale about three cultured women who dream in vain of returning to Moscow
when the backwater burg they live in is vacated by an army garrison, the town's
only source of entertainment. This show at the Dzhigarkhanyan Theater wreaked
havoc on my neat theory that cloned Chekhov productions are running neck and
neck with global warming, criminal political crusaders and Britney Spears in an
evil conspiracy to destroy Planet Earth. In fact, most of the characters in this
tough, challenging production, created jointly by directors Yury Klepikov and
Vladimir Yachmenev, look as though they have gazed into the fires of Armageddon
and wish to tell us what they have seen before the conflagration engulfs
them.
This is one household of unhappy people. No one, however, is pining
gloomily for the past or the future. No one is heaving the sad sighs of
loneliness and melancholy. Almost everyone here -- the three sisters and all of
the other family members, visitors and hangers-on -- is caught in that vicious
downward spiral that is otherwise known as life. Each is in the grips of
deep-seated frustration, if not rage. Suffering is something they do loudly and
demonstratively, not cowering in the shadows.
This makes for some very
funny moments, as in the desperate, clawing love scenes played out with
everybody watching. When the humor is eclipsed, such as when Andrei, the three
sisters' once-gentle brother, begins breaking down psychologically, this show
can throw a chill down your spine.
And then there are the numerous scenes
where comedy and heart-stopping drama race forward hand in hand. For me, one of
the most memorable of these moments takes place as the luckless but congenial
Tuzenbach (Alexei Shevchenkov) swears repeatedly that he is going to be
happy. Every time he utters the word "happy," the pompous Lieutenant Colonel
Vershinin (Andrei Merzlikin), all philosophy and no brains, stridently
interrupts him and grumbles, "No!" By the seventh or eighth round of this
shotgun exchange, we are consumed by laughter and shaken by the realization
that, jerk or not, Vershinin is right -- the clueless Tuzenbach can't ever
possibly be happy.
One of the discoveries of this production is the depth
of the characters of Andrei (Stanislav Duzhnikov) and his wife Natalya (Yelena
Ksenofontova). The typical handling of this pair is for Andrei to be a mouse and
for Natalya to be a rat. Not so at the Dzhigarkhanyan. Ksenofontova plays a sex
goddess who uses her feminine wiles and lack of scruples to cow everyone into
submission. Brusque, flirtatious and self-confident, she keeps Andrei in a state
of frustrated agitation by leading him on sexually but rarely allowing him to
get beyond preliminaries. For his part, Andrei starts out as a compassionate man
who seems too normal for all the eccentrics surrounding him, but eventually
develops into a strangely violent man who chases around the old watchman
Ferapont (Denis Nadtochy) in an effort to engage him in wrestling matches, and
who, in his lowest moment, spouts off a speech about how good Natalya is while
rudely kicking a group of fire victims out of his house.
In short, the
characters and situations of Chekhov's play are the same as they have always
been, but they are cast in an entirely new, completely believable, light that
allows us to approach them as if for the first time.
Kulygin, customarily
a dowdy old Greek teacher whose colorless personality oppresses his wife Masha
(Olga Kuzina), the second in age of the three sisters, is a strong, stylish,
sensitive man in the performance of Alexander Bukharev. This comes as a
revelation and significantly tightens the drama of Masha's brief affair with
Vershinin. When Masha strays to Vershinin, a comically clumsy and irritating
type as performed by Merzlikin, we can only conclude that the demons driving her
are far more profound than mere boredom. The result is that both Kulygin and
Masha become more complex, and so interesting, as characters.
Most of the
private, intimate scenes in Chekhov's play take place in this production before
the eyes of all. There are no secrets here; everyone knows his or her own
sorrows and understands that they are shared by all. In this light, Masha's
farewell meeting with Vershinin is especially moving. Kulygin stands by watching
the whole thing happen and, even so, moves to comfort Masha, who is shattered by
Vershinin's departure.
The sisters Olga (Yelena Medvedeva), Masha and
Irina (Anna Bashenkova) seem overwhelmed but not quite broken by the tragedy of
their lives going to waste. Olga is tough and stoic; Masha is as trivial as she
is explosive; Irina is 20 going on 45, a woman who knows instinctively that life
holds no hope for her but also knows it would be in bad taste to show it. She
agrees to marry Tuzenbach because she has no other choice, but when she hears he
has been killed in a duel, her reaction is hollow. Any emotions she ever may
have had were spent long ago.
Klepikov and Yachmenev have given the show
an almost feverish pace. People are constantly running in and out, interrupting
one another, shouting each other down. On occasion someone might try to escape
into a corner but peace seldom lasts long there -- the crowd always finds them
and envelops them again in the swirl of noise and activity.
The
soundscape of this show is handled beautifully. Rattling and crashing sounds
back up the action at key moments while a half-singing, half-howling chorus
distantly accompanies Andrei's bitterly ironic speech that happiness awaits him
and his wife and son in the not-too-distant future.
The set by Ilya
Yevdokimov is a layered space that is occasionally sliced in two by a pair of
transparent plastic panels that act as a "wall with eyes." When Natalya and
Andrei escape the crowd at Irina's 20th birthday party to paw each other in
lustful abandon, all the guests stand staring at them from the other room.
Looming in the back are the bare trees of an orchard, apparently a hint that the
logical extension of "The Three Sisters" is "The Cherry Orchard," Chekhov's next
and final great play in which a family loses its grip on past glories and is
driven out of its house altogether.
"The Three Sisters" (Tri
Sestry) at the Dzhigarkhanyan Theater, 17 Lomonosovsky Prospekt. Metro
Universitet. Tel. 930-7049, 930-4269. Running time: 3 hours, 5 minutes.