Redefining 'radical', Filter Theatre's production of Three Sisters at Lyric Hammersmith is a little kooky but astonishingly effective.
“Father bludgeoned us with education,” quips Masha, the middle sister. It rings true with much of the Chekhov-appreciating audience that will come to see this play. Many of us probably have been knocked about the head with Chekhov's text, all its richness and themes; which means audience will be split over opinions on Sean Holmes and Filter Theatre's production.
It has an undeniably refreshing quality. Rarely do you see a grown man run about the stage with childlike energy but Andrei (Ferdy Roberts – Twelfth Night, Water) sets the almost tuneful pace that sees flurries of conversation about philosophy and hopes for mankind highlight the bleak, provincial existence of the Prozorov sisters as they pine for an exciting life in Moscow.
The Filter-Holmes collaboration has been responsible for Lyric successes 'Water' and 'Twelfth Night', 'Three Sisters' will no doubt follow. Rather than setting out to strip down Chekhov, Ferdy Roberts and Ollie Dimsdale, artistic directors of Filter Theatre along with Sean Holmes (artistic director at Lyric Hammersmith) are trying to elucidate the timelessness of the characters and the text by honing in on their wants, frustrations and utilising very clever sound. Boiling Kettles bubble and spit over awkward silences, microphones hide in unfortunate places and if there needs to be music, an electric guitar will do.
This focus sees desperately unhappy Masha (Romola Garai – BBC's Emma) don a trilby, sprightly Irina (Clare Dune- Crunch) in skinny jeans and eldest, responsible Olga (Poppy Miller – BBC's Emma) in buttoned up blouses and spectacles on a chain. The directors have asked, “what would these sisters wear without the constrictions of their time?” And so Masha is in black, Irina more colourful and realist Olga ever sensible without the flouncy, fussiness of period costume.
They have succeeded in illuminating the notion of human wants and desires that transcend every generation. The sisters' longing for the city, Andrei's going to the office to avoid home and trying to convince himself his wife isn't a complete idiot all resonate with every audience.
For the most part, they triumph at telling the story in a clearer way, though things get a little confusing in the second act. The set becomes far bearer as the characters pace around 'outdoors' and the house becomes an unbearable space no longer theirs. Masha's husband Fyodor rocks back and forth eerily on a lone swing and the characters symbolically maintain either a great distance and stoic presence or cling to one another desperately. There are some utterly bizarre aspects to the production including the repeated motif of 'There was an old lady who swallowed a fly' and Dr Ivan singing “Tarara boomdiyay. I'm on the fence today” which is probably to do with the character's befuddlement or unravelling.
The cast clearly have an affection for one another. Memorable performances come from John Lightbody whose military man Vershinin provides the perfect breath of fresh air to cool the Prozorov sisters' cabin fever. Gemma Saunder's Natasha is also perfectly piteous in the first act then utterly detestable as the servant-scolding sister-in-law. Well done to the Lyric for taking a risk with this one: as long as audiences aren't Chekhov purists, this production is sure to open a new and refreshing angle on Three Sisters.
Photo Credit: Helen Maybanks
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