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3 Sisters Discussion Group & Archive
I use Chekhov and Shakespeare in all my classes; read Hamlet and 3 Sisters, if haven't done it yet.
"3 Sisters" was our FIRST Virtual Theatre project!
Also, 3sis pages are in the main SHOWS directory.
Summary* 2007 webcasting
* rules and place to go for auditions
Notes... 3sis07 promo video (real - 15 MG, long download). embeded player is at youtube.com/anatolant + google video + motionbox.com? [ see my film/video pages ] -- just a teaser, promo... pomo.vtheatre.net : Project Utopia
Cast Forum/Group/List(s) logo?
* crew working place -- go to vtheatre
3sis calendar (google)
Ann Turner -- Natasha
Gavin McClure -- Andrey
Diana Williams -- Olga
Heather Maas -- Irina
Kate Koehler-Platten -- Masha
Micah Borer -- Kulygin
Mike Karoly -- Vershinin
Chip Brookes -- Baron
Shannon Luster -- Solyony Theatre UAF presents "Three Sisters" Live, Main Stage + webcast
Anton Chekhov was a Russian playwright known best, while he was still alive, for his comic short stories. Since his death in 1904 he has become known for his plays. Though few in number, Chekhov’s plays are enormous in impact. The Three Sisters is not a play about beggars, gods, kings or fools. It is a play about people. Chekhov believed, “what happens on stage should be just as complicated and just as simple as things are in real life. People are sitting at a table having dinner, that’s all, but at the same time their happiness is being created, or their lives are being torn apart.”Press Questions? Contact Jason Chapman at 474-6590, Fax 474-7048 ...
“Seinfeld” is Chekhovian comedy. A show about nothing, people who are nothing, and the only drama that exists is internal. “Seinfeld” would not have existed had Chekhov not drawn the character focus in tight. Love triangles, illicit affairs and the complex character relationships in Chekhov’s plays have taken many forms in today’s entertainment world: >From soap operas and sit-coms on television, romantic comedies and drama on the big screen, as well as almost any production on the modern stage.
Director Anatoly Antohin is an award-winning Russian playwright and accomplished international director. Currently he is the head of the Theatre department at UAF. Working with his own translation Antohin plans to bring The Three Sisters closer to modern audiences through the internet. As one audience sits and watches the action unfold in front of them, a camera crew will be filming the show and broadcasting it live on the world wide web.
To find out more about this upcoming production visit Antohin’s website: http://members.tripod.com/~afronord/plays/title.html
The Three Sisters will be presented at UAF Nov 19 - Dec 5.
For Tickets call: 474-7751 or come by the Theatre UAF Box Office located off the Great Hall on UAF campus.
In the Salisbury Lab Theatre
· Friday, November 19 @ 8:15pm
· Saturday, November 20 @ 8:15pm
· Friday, December 3 @ 8:15pm
· Saturday, December 4 @ 8:15pm
· Sunday, December 5 @ 2:00pm
Tickets: Adult $12, UAF Faculty/Staff, Disabled & Military $10, Students/Children $6
Costumes Tara Maginnis
Lights Kade Mendelowitz
Set Bud Jet Kutz
Stage Manager Raphaela Stacheter
From: "Kate Koehler-Platten"
Date: Mon Sep 27, 1999 12:25 am Subject: [3sis] Family Relations again
simplified breakdown of siblings here:
Olga-> needy, tried to be perfect for daddy
Masha-> The "I just don't what to do with her" type of child, smart, but not the best student, rebellious
Andrei-> mama's boy, sensitive, weak
Irina-> baby, looks like mother, very smart, perfect, must be protected
I resent Irina for being smarter than me, and perfect. She doesn't even have to try to be perfect, even though father is so strict. I dont trust her, too perfect, too full of herself.
But, I love her very much. I used to tell her romantic stories at night.
During the day my resentment prevails I cant seem to do wht father wants because I resent his control At night I want Irina's whole life, her future to be perfect. I have alot of hope for her. I tell her exciting tales of my dates with soldiers. I make up information. I dont tell her I hated them.
By sharing my passions with her, I feed her desire for passion and her fantasies. I want her experiences to be like her fantasies and my stories, not like my true experiences. I dont want her to experience the misery invilved in being a passionate person.
Pre-publication version of a review that will be published in The Moscow Times Sept. 17, 2004. Any and all quotations of, or references to, this article must cite John Freedman. © 2004 John Freedman. The final version will be available (with accompanying photos) on Friday in the Context section of The Moscow Times at www.themoscowtimes.com/context
Pyotr Fomenko's production of Anton Chekhov's "Three Sisters" is the classic case of a show that had to happen. From its first appearance 11 years ago and on through the following decade, the Fomenko Studio has built its reputation largely on the talent, personalities and sensibilities of the women in the troupe. And, as Chekhov once noted in a letter - a phrase that Fomenko works into the canvas of his production - "Three Sisters" contains four choice roles for actresses. It is another thing that the strengths and interest of both the play and Fomenko's theater do not end on that note. In Fomenko's hands Chekhov's sobering tale about the squandered lives of everyone surrounding the three young, bright and lively Prozorov sisters comes across even more bleakly than usual. Perhaps this is the natural outcome of a harsh, demanding play meeting the famously ethereal and gentle Fomenko touch. In this director's hands, the fragile becomes brittle and the transparent becomes translucent, something that is made apparent even in Vladimir Maximov's detailed interior set as illuminated by lighting designer Vladislav Frolov: In the early minutes of the performance, a sheer curtain hangs between the actors and the audience, causing the images on stage to appear as though they are airbrushed. The first major breach in this veiled vision occurs only when the sisters mention their mother's burial place - the curtains then are snapped back, suddenly throwing everything into sharp and realistic focus. Chekhov's play, set in a dreary provincial town whose only reason for being is the army outpost located in it, is often perceived as an exploration of nostalgia, the Prozorovs' pining for the good old days when their parents were alive and their house was filled with exciting, interesting people. Their famous refrain of "To Moscow! To Moscow!" has become something of a symbol of the desire to return to a lost and better past. But Chekhov would never have lasted so long had his purpose merely been to evoke warm, tingly feelings about what we once loved but can no longer have. Chekhov, in fact, was focusing his withering gaze on the future. And in the case of the characters in "Three Sisters," the future holds little indeed. This, suggests Chekhov, is the nature of life - it passes with alarming speed, without our noticing it, all the while leaving us with less and less of that which might help make sense of our existence. By making this his focus - the inexorable process of dwindling hopes, capabilities and opportunities - Chekhov steered clear of the sentimentality of nostalgia and drove headlong into the territory of tragedy. Fomenko boldly followed him there. As the oldest sister Olga, Galina Tyunina plays a woman who has not so much abandoned her hopes as she has quietly recognized the fact that they will never come true. Still just 28 years old, she is young and vital and intelligent enough to know that she will not marry and that she will end up doing what she never wanted to do - become a school administrator. Tyunina, usually an actress of colorful eccentricity, toned her stage persona down significantly here, achieving a low-key, even self-effacing presence that suits the character of Olga well. Flanking Olga in terms of character are her sisters, the occasionally caustic and visibly frustrated Masha in her mid-20s, and Irina, the vivacious, romantic girl who is approaching adulthood when we first see her. Played respectively by the Kutepova twins Polina and Ksenia, they emerge as similar, though not duplicate, opposing halves of a single whole. When hearing Masha tell that some years ago she married the school teacher Kuligin (Tagir Rakhimov) for the reverence in which she held him, it takes little imagination to see echoes of her in the idealistic young Irina. And, by play's end, when Irina has seen her modest plans for tranquility, if not happiness, dashed cruelly and tragically, it seems clear that Masha's despair is something Irina will now come to know intimately. Irina is squeezed between the kind and goofy Nikolai Tuzenbach (Kirill Pirogov) and the acerbic, malevolent Solyony (Karen Badalov), both of whom are in love with her. Solyony, a loner who imagines himself a maligned and misunderstood poet, has no chance in this amorous competition but he makes it clear that he will never allow his rival to outmaneuver him - he'll sink a bullet in him first, he says. That is just what he does when Irina prepares to leave and start a modest new life with Tuzenbach. Badalov provides one of this production's finest performances, creating a multi-faceted character who can be as funny as he can be frightening and who, even in his most vile moments, never loses his humanity. Chekhov provides Masha a few fleeting moments of respite from the desolation of her life with Kuligin in the person of Vershinin (Rustem Yuskayev), an old family friend who begins visiting the Prozorovs regularly. In Fomenko's production, this harmless, rather tedious, but moderately jolly officer injects a sensation of change, if not improvement, into the monotonous life of the house. Masha is merely amused at first but in time is drawn closer to him not so much through love as through an instinctive understanding that this may be the last chance she ever has to exercise her atrophied feelings. Around them at all times are others with their own tales of disillusionment, failure and inadequacy. The sisters' brother Andrei (Andrei Kazakov) was once a promising scholar with musical talent who now, it is clear, will never amount to anything. Even his love for Natalya (Madlen Dzhabrailova) is clearly doomed from the outset. She is pushy, offensive and easily offended right from the outset, a personality that can only sow discord in the family. Then there is the iconic figure of Chebutykin, the 60-year old doctor who once loved the sisters' mother but has "forgotten" if she ever loved him. An occasional drunkard and borderline misanthrope, he also has a deeply affecting sense of loyalty for the Prozorov family and an inclination for speaking the naked truth that can make him cruel and even dangerous. I may never have seen this character played with the killing emotional desolation that Yury Stepanov brings to him. Subtly and quietly, with great charm and incisive veracity, Stepanov lays bare the vulnerability and criminality of a man who can stand by and shrug his shoulders as his beloved Irina's fiancé goes off to be shot dead in a duel. Fomenko slightly softened the lacerating edges of this tale by introducing someone identified as the Man in a Pince-Nez (Oleg Lyubimov). This is Chekhov himself, of course, and he wanders unobtrusively among his characters, encouraging them to hold pauses long enough and occasionally dropping pithy and humorous asides that illuminate the artistic goals he had in writing his play. The sonic atmosphere, too - a veritable background concerto of complementary noises including sighs, cries, whistles, banging and books snapping shut - lends a soothing and calming effect to the goings-on. That, however, is as deceptive and fleeting as the hopes that ride youth's dreams. Chekhov wrote a play about how quickly we can lose what makes us vital and Fomenko brought that to the stage without blinking an eye. ***"Three Sisters" (Tri Sestry), a production of the Fomenko Studio, plays Fri. and Sat. at 7 p.m. at the affiliate of the Maly Theater, 69 Bolshaya Ordynka. Metro Dobryninskaya. Running time: 4 hours, 10 minutes.***
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