Review: Three Sisters (Sydney University Dramatic Society)

sudsVenue: University of Sydney Studio B (Camperdown NSW), Jul 30 – Aug 9, 2014
Director: Saro Lusty-Cavallari
Playwright: Anton Chekhov (translated by Laurence Senelick)
Cast: Alex Magowan, Chenier Moore, Henriette Tkalec, Honey Abbott, Maree Raad, Zach Beavon-Collin, Victoria Zerbst, Adam Waldman, Brendan Colnan, Ruby Brown, Christian Byers, Meg McLellan, Georgia Coverdale

Theatre review
It is hard to imagine a life without hopes and dreams. The nature of being human has so much to do with our expectations of tomorrow. Most of us think of our days on earth as a linear string of hours, and much as we are bound to the here and now, it is often the moments that follow, that propels us. Chekhov’s Three Sisters is about a dissatisfaction with the present, and the longing for a different time and place.

Saro Lusty-Cavallari’s direction finds beauty in the solemn and the bleak. He handles the optimism of Chekhov’s writing with youthful skepticism, and articulates it through a vision that is gentle and cool. Lusty-Cavallari enjoys conceptual expression, and the conflict between his fondness for abstraction and the writer’s realism creates interesting tensions. The narratives are not relayed with great clarity, but the manipulation of mood and atmosphere is successful. His cast is large, with thirteen young actors of varying abilities, but he features them well. There is no question that Lusty-Cavallari’s first production with professional performers will deliver impressive results; the amount of potential hastening to rupture is unmistakable.

Stronger performers of the group include Chenier Moore who plays a character more than twice his age. Moore’s connection with the script and with his cohorts feels genuine, which allows him to deliver the most engaging and polished characterisation in the production. Henriette Tkalec plays Irina with fascinating results. Tkalec is a young actor with excellent presence, and fierce conviction. Her focus gives energy to scenes, even when textual interpretations are slightly indistinct. There are several delightfully quirky characters in the production, but Adam Waldman’s is most memorable. The actor shows a real passion for the stage, and his enjoyment is infectious. The wide-eyed innocence of his portrayal is endearing, but Waldman’s work would benefit from an amplification of his character’s transformation as the plot develops.

The production is faithful to Chekhov’s artistic legacy. There are no great subversions or unnecessary deconstructions, but the manufacturing of realism is never easy. Training and skill is required of all collaborative elements in order for something that looks like daily life can become effective theatre. This production is not lacking in spirit and diligence, but its participants need more time, which they fortunately have in abundance.

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