Constellation Chekhov

Three Sisters
JANUARY 27, 2010 BY DEBBIE JACKSON
Chekhov’s Three Sisters is a classic rumination about life, death, and
everything in between. Constellation Theatre has now put its indelible
mark on the tale, immersing the story in perfectly paced physical
movement, well tuned comedic interludes, and tender sensibility, all with
an epic-size ensemble.

In the opening scene, from their particular spots on stage, even before a
word is spoken, each of the three sisters exudes a strong sense of her
character and what she’s all about. And that’s a particular Constellation
marking – establishing a character base from the inside so that each
utterance, expression, and especially the performer’s movements come
across as real and authentic, directly attributable to keen direction by
Allison Arkell Stockman.

Of course, it helps to have such accomplished actors in all the roles,
each having the chops to tackle portraying the evolutions of the
characters and their emotional stages throughout their lives.

Nanna Ingvarsson as older sister Olga is a marvel to watch as pseudo
matriarch of the family. She is the underlying strength that holds the
family together even when she feels close to unraveling herself.
Catherine Deadman plays middle sister Masha with a smoldering intensity
with as many quietly observed reaction moments as she has text. Masha
probably has the most complex inner story in that she’s never satisfied
although we don’t really know why, she probably doesn’t either, and
Deadman does a great job portraying her conflicted pursuits. Amy Quiggins
plays baby sister Irina with exuberance and adorable appeal. More than
just a pretty face with kewpie doll lips, Quiggins’ sparkling eyes
actually gently fade with the toll of time and the hardship of watching
her family plummet from heights to bare sustenance. The actresses
convincingly relay a loving supportive relationship with each other with
an almost palpable bond.

Renowned veteran Annie Houston adds professional heft in her role as long
time housekeeper, and all time favorite actress Katy Carkuff tackles the
juicy role of Natasha, the sister-in-law who transforms from meek and
gentle to Ivana the Terrible once married with children. Natasha is the
only one bringing a fertile legacy to the family– she knows it, and she
brandishes her offspring like a sword and shield. Carkuff’s backyard yell
when calling one of the children off stage sounds like a battle cry
intending to take no prisoners, and she swaggers with an “I’m in Charge”
demeanor—in heels.
Each of the male actors brings his own strength and style to bear, and
they all complement each other as well. Powerhouse Brian Hemmingsen as
the Army Doctor ignites his role with a roaring baritone voice and head
strong approach. Joe Brack, on the other hand, is the hesitant, cagey and
unsure brother, Andrei, while Ashley Ivey is constantly making do as
Masha’s patient pathetic high school teacher husband. Each comfortably
fits within the constellation of the many characters, love interests,
barons, captains, and lieutenants who Stockman moves across the stage with
determination and purpose.

Even the modern translation by Lanford Wilson works in favor of this
young, robust company. The characters dream of love, of escape to Moscow
or from loneliness, they yearn for safety and security, but also for
purpose. “We were put here to work.” says one. Without work, there is no
purpose or sense of self. The characters live out this sentiment with a
strong zest for life and a quest for meaning in everything they do—whether
celebrating Irina’s coming of age during Saint’s Day, frolicking and
making merry to a sudden spattering of music, or busting a treasured
family heirloom to smithereens to make a point, the actors approach the
scenes with deeply felt clarity, and fill each moment with energy and
purpose.
That’s one of the joys of this company, watching their approach to the
text, how the actors bring energy to the script, and seeing how moments
come to life, all staged with gallantry and style on a make-do budget on a
shoestring.

The set by A.J. Guban, who also designed the spot-on lighting, consists of
multiple platform tiers that help establish distinct portions of the
house. In true multitasking style, rolling a couple of beds converts the
dining area with complete setting for over twelve in the first act to a
cozy upstairs bedroom in the second. The dining arrangement deserves
special mention with the elegant tablecloth and glassware atop a sturdy
wooden frame with benches for chairs. It is practical, of course, but
it’s also a perfect metaphor for the company’s ability to depict earthy
naturalism intermixed with elegance and style.

Speaking of which, costume designer Ivania Stack has gone all out with the
period dresses. Irina is the symbol of chaste young purity in her lacey
white frock. When the good times roll, the sisters’ dresses reflect the
bounty in shimmery fabric fit for queens, beautifully tailored with cuffs
and embroidered seams, and buttons galore. Likewise, when times become
more austere, the checkered plaids come out along with aprons and sensible
attire. That’s what makes the sumptuous mustard colored dress that
Natasha wears so striking towards the end– she’s the only one so endowed
in a startling contrast, a clarion call message that she—and her precious
offspring—will be the last ones standing.

Each act reflects a different stage of life—from the young hopeful
exuberant spring, and ending nearly five years later in the desolate,
nearly despairing Fall with cold winter quickly approaching. Here, as in
The Cherry Orchard, a precious orchard is threatened to be cut down to
make way for progress and opening the land, change is as imminent as frost
is in the air. Still, there is a resilience that comes through, with the
message that no matter how life runs its course, even in despair, each
passing moment, like a flickering candle, is precious.

Even in its young tenure, Constellation Theatre Company is already
embodying that sentiment, and continues to be the company to watch. The
final play of its third season, The Ramayana, “India’s Epic Tale of
Passion and Adventure” promises to be a perfect showcase for
Constellation’s mythical, epic, and exuberant style. It just doesn’t get
much better than that.


Three Sisters
Written by Anton Chekhov, translated by Lanford Wilson
Directed by Allison Arkell Stockman
Produced by Constellation Theatre
Reviewed by Debbie Minter Jackson


Loving it, Lucia.