For the sesquicentenary of Chekhov’s
birth (on Friday 29th), a curious experience. As a company, Filter have
amassed a reputation for stripping plays down and re-assembling them...
but what they have done with Christopher Hampton’s limber, contemporary
translation of
Three Sisters
is the stripping-down, at least in terms of staging, but no
reconfiguration whatever that I can see. Discounting relatively
incidental elements such as live-mixed
entr’acte musical collages of
material ranging from Belle and Sebastian to “The Old Lady Who
Swallowed A Fly” and (rather undersused) microphones onstage for
occasional asides or undertones, what Filter and co-director Sean
Holmes give us is a more or less straight performance of the play on a
junk-shop set which is marooned on the Lyric’s otherwise ostentatiously
bare stage. This is especially apparent in the latter two acts. In Act
Three, set in an attic room, the furniture defines a tiny island
centre-stage with the rest in blackness, and sometimes one sister or
another, when confronted with something they do not want to hear,
retreats literally into the outer darkness; the final act has nothing
on the stage except a swing and a seat far upstage on which sits the
muttering Chebutykin.
The effect is strangely paradoxical. On the one hand, it is as if the
various characters’ idle musings on posterity have been truly enacted,
and we see exactly what will survive of them and their lives in the far
future, without any of the attendant trappings. On the other, I for one
had the sensation that this relict amounted to surprisingly little.
This is not to fault a clutch of solid and engaged performances,
including Romola Garai as the semi-bleak Masha, John Lightbody as a
Vershinin who speaks impulsively, whether to “theorise” or to declare
his heart, and even Jim Bywater as the old servant Ferapont, here
transformed into a superannuated, crash-helmeted courier of local
authority papers. Yet, watching that small island of life amid the
empty space of that Frank Matcham-designed theatre, I felt that Filter
had captured all the criticism in Chekhov’s unblinking dramatic gaze
without any of the compassion which balances it. Yet I cannot with
certainty say that this is a deficiency of the production rather than
of my perception, this sense of its being engaged but worryingly
unengaging.
Written for the Financial
Times.