The extended monologues of Chekov’s provincial Russian dramas can really bring a person down. Director Matthew Wright’s rendition of Three Sisters, however, succeeded in creating a captivating and provoking show that never once lost pace or gave the audience’s attention the chance to stray.

This production was from the start joyous; it opened with a lively scene provided mostly by the talented and magnetic Hallie Gnatovich. As the youngest sister, Irina, Gnatovich set the precedent for what turned out be a surprising and admirable production. The actors maintained an exuberance that, though at times a bit forced, added a playfulness unusual for a Chekov play. This playfulness was anything but misplaced Chekov himself often complained that his works in production lacked humor and the foolishness that he wished to portray in the characters’ constant lamentations. Wright and his ensemble did quite well in balancing the suffering and introspection of the play with a kind of self-awareness and light-heartedness.

The curtains opened on the home of the Prozorov family. The set was spectacular, warm and homelike with an odd nostalgic air to it; the bare birch trees in the background added a nearly surreal effect. The actors moved about the stage freely, making great use of the lovely set. In every scene there was constant action; maids and soldiers moved in and out of the house and there was always more unfolding than the audience could be aware of.

The three leading actresses played young women coming to terms with their fated lives. Their interaction created a lovely rapport and they held their own magnificently. These seniors chose this challenging and provoking show as their honor’s production and they did a beautiful job both together and with their talented ensemble. Jill Donnelly, playing the eldest and least dynamic of the sisters, did well to maintain her strength and act as a stable supporter of the other two. Gnatovich was charming and very versatile, captivating the audience as she spiraled from her initial gaiety into a state of near hopelessness as her life became more and more bleak over the course of the play.

While Gnatovich owned the stage in the first act, it was Amy Flanagan who truly captivated in the second act. Coming to life through her romantic interactions with guest Equity actor Richard Haratine, Flanagan was Masha, the radiant middle sister . The natural chemistry between the two was delightful.
Junior Anne Johnson was also impressive; while at first she seemed to blend into the background, her talent eventually shone through in her portrayal of Andrei’s overbearing wife. The doctor Chebutykin, played by Ben Sinclair, also had a great presence on stage. He was often dominating but never overbearing and provided many of the laughs in the show.

Aaron Helgeson gave a noteworthy performance as the Baron Tuzenbach, Irina’s husband-to-be. A hopeless romantic and a rather tragic character, he was smacked around by the rest of the characters throughout and only began to realize himself when the time came for his unfortunate demise. This brings us to the madman Solyony, the perpetrator of the crime. Although he played a minor role in the production, Bacilio Mendez stood out as awkward yet powerful, weaving a web of mystery around his character such that even at the end of the play Solyony remained a mystery.

Praise is also due for the role of music in the production; it set the mood, whether through Chebutykin’s humming or the eerie sound of Andrei’s violin from off stage. Even the scene changes were animated and filled with song. The audience felt nostalgia, joy and longing each time a guitar was played or a character began to sing and dance around the living room.

It is unfortunate that a better translation could not have been used with such a talented group of actors and crew. Paul Schmidt’s “American” version left much to be desired. The language was awkward and the colloquial syntax was simply inappropriate; it completely lacked the timeless quality of the original text. This did not, however, detract from the talent of the actors. They aptly used the script to their design and succeeded in creating the drama necessary for the production.

The greatest strength of Three Sisters was undoubtedly the ensemble. The cast had clearly done its homework; they performed beautifully both as individuals and as a unit. They were cohesive, had a great sense of solidity and appeared in every moment to be a family. Each was alone, yet together they pushed forward, worked to get by and displayed with crystalline clarity that beautiful Chekovian view of the human condition.