Theater Online - New York Theater Reviews

  

On the fourth floor of a nondescript building next to the police precinct on 54^th Street, the Seeing Place has opened a production of Brian Friel’s 1981 translation of Anton Chekhov’s The Three Sisters. Directed by Producing Artistic Director Brandon Walker, this is the third of five shows in their season, all presented at their usual home: ATA’s Sargent Theatre.

Seeing Place’s Three Sisters focuses heavily on the comedic side of Chekhov, adding extra schtick and taking an almost sketch-comedy approach to certain characters like Fedotik (played by Justin Kress) or the overly-physicalized hunch of Mary Lahti’s Anfisa. While the slap-stick comedy and overly exaggerated faces and reactions compromises the subtly and subtext that make Chekhov so poignant and nuanced, the cast garnered laughs from their audience, landing more jokes than not.

Over the considerable three hour and fifteen minute duration of this production, the cast have a real chance to shine. While the performers are not consistently meeting their full potentials, the actors continually make choices and invest, not losing stamina over the night. Brian Byus makes clowning pay off with his charismatically hostile characterization of Solyony while Michael Stephen Clay gives a refined and soulful portrayal of the aging doctor Chebutykin. Brandon Walker (Andrey) is honest and energetic, Erin Cronican (Masha) is deliciously droll and completely winning, and Mary Lahti (Anfisa) may be the most consistently delightful of the whole ensemble. Daniela Thome is statuesque yet vulnerable as Olga and David Sedqwick charms as Vershinin. In fact, the tete a tete between Thome and Sedgwick as the show is nearing its end is the strongest moment of the performance.

  

The design elements of the show are all extremely limited by the restrictions of the space and by budget. The lighting by Zach Pizza favored warmth and depth, although there seemed to  be a cap on how bright the level of light could get without straining the theatre’s dimmers. Michael Minahan’s set featured some great pieces, including a ratty but elegant chaise and wistful trees painted on the back wall, making clever use of the stage space while seeming to use whatever furniture was available. This “use what’s available and make it work” look is extended by the production’s gimmick of labeling generic furniture or folded printer paper in large marker to signify a representation of something more specific. So for example, in place of a picture frame, a folded piece of paper perches atop a desk with the “picture frame” scrawled across the front. This quirky, metatheatrical practice is amusing and seems to tie in with the show’s convention that a “stage manager” remains on stage to call certain of the cues for the audience and move props when necessary. It also connects to the use of props and food items from varying periods of time (i.e. a brita filter, Junior Mints, a digital camera), however this blatant representational style in the props and sets along with the purposeful disregard for time period undermines the costumes design. Preesa Adeline Bullington’s costumes strive to be character appropriate and period specific (or at least period-esque), which contrasts with the haphazard labels and ragtag set to expose the fraying costumes as more shabby than stylized recklessness.

When there are problems with the congruity of the design concept and with the dramatic action of the scene work, I start to wonder about the director’s involvement in guiding the process. Combined with the awkward choice to have staging depend heavily on the entrance to the lobby which opens to the clearly visible concessions, one must assume that Brandon Walker (who also produced the show and gives an excellent performance as Andrey) probably stretching himself too thin by adding directing to his to-do list.

The Three Sisters is one of the great challenges in the Western dramatic cannon, and the Seeing Theatre makes a noble attempt to tackle the play. Their ambition affords them many opportunities to excel in moments, but stretches their resources. Still, Seeing Theatre is obviously a commendable, ensemble-focused company  whose dedication to cultivating the company audience is matched by a concern for their audience by making tickets affordable ($12).

The Three Sisters runs through March 25^th at ATA’s Sargent Theatre, 312 W. 54^th Street, 4^th Floor. Tickets are available at www.smarttix.com.