Tag: Reece Vella

Metanoia Theatre Presents 3 SISTERS

Chekhov regrown

By Leeor Adar

Anton Chekhov’s ode to the Russian rested but restless classes in Three Sisters is reimagined by director Greg Ulfan in Metanoia Theatre’s production of 3 Sisters. One never knows what to expect with a Chekhov production, but I was surprised that this production engaged its audience despite the three hours given to the tragedies of its three sisters, Irina, Maria (Masha), and Olga.

3 Sisters.jpg

Ulfan views theatre as an ‘endangered species’ in an increasingly digitised age, and no play draws its audience back into the depths of their thoughts like Chekhov’s Three Sisters. The lamentations of the characters before us emulate our lamentations of today, ‘to work’ and find purpose – as rag-dolls to the realities of our modern day, so too are the lives of the characters in this play.

Ulfan directs a group of actors who are very well cast in their roles. Erick Mitsak brings a sense of comedy to his role as Baron Tuzenbach, and yet manages to inject the affable and pitiable nature ideal for the character. Reece Vella’s passionate performance as Vershinin contrasts well with the beautiful intensity and harshness of Donna Dimovski’s portrayal of Masha. Their soul-destroying final embrace made for difficult viewing, but was incredibly satisfying performance-wise. Masha’s sisters were performed well, with Tariro Mavondo’s bursts of youthful joy and exasperation as Irina adding lightness to the otherwise solid and stoic gloom of Natalia Novikova’s Olga. Another performance highlight was the sudden outburst of Michael Gwynne’s portrayal of Solyony; losing his otherwise quiet and imposing demeanour, he confesses his obsessive and unrelenting love for Irina, crawling across the dining room table just to grasp a hold of light in this gloomy, Chekhovian world.

Lara Week’s set and costume design was charming and minimalist, with Lego pieces to replicate dining materials and gifts. The actors wore uniform clothing with white painted embellishments of collars, bows and buttons; this was stylistically inspired, coupled with the actors’ white face paint to capture perhaps the imposing duties of the characters’ lives that render them immobile against the currents of their times. Christopher Bolton’s live piano-playing in the background set the tone of this production, and mirrored the action of the play in a pleasing touch.

The length and drawl of this play is its downfall, and the final scenes were exhausting, perhaps telling of the exhaustion of the characters. The bursts of singing and dancing were thankfully convincing and joyful, and set alight the moody atmosphere we’re held captive within for these three hours.

Despite the length and occasionally camp nature of 3 Sisters, I can’t honestly say I did not enjoy it. I laughed, and thought a little too hard about the meaning of it all. This was ultimately what I expect Chekhov wanted, and Ulfan has given us a loving spoonful of this melancholy world.

You can submerge yourself in this production until Saturday November 5, 7pm at the Metanoia Theatre, Mechanics Institute:  https://www.trybooking.com/Booking/BookingEventSummary.aspx?eid=221728

Review: La Mama Presents DITTO, A STORY

Unusual look at the theatre in theatre

By Myron My

Ditto, A Story is a love tale between three actor friends trying to get all they can out of life. Not only are they looking for the one but they are also in search of their one big break.

The most intriguing part of Ditto…A Story is when the three friends attend their ‘audition’. It’s an audition performed live that is taken by a different director each night.

Ditto

On opening night, Deborah Leiser Moore, a director who creates a lot of physical and immersive performance-based works takes the actors through her own audition process. It’s very much art imitating life and you can’t help but feel nervous and anxious for the actors and that you are intruding on a very personal moment where they are genuinely vulnerable.

Unfortunately the three characters of Freya, Que and Moqui upon whom this story turns (Malina Maria Mackiewicz, Mischa Grunenberg and Reece Vella) lacked believability, and I felt more exploration was needed regarding their desires and wants. There were times I felt reminded that I was watching actors on stage rather than the actual characters.

The set consists of a number of sheets as curtains hanging on a line from one side of the stage to the other that the actors slide open and closed to go “backstage”. The busker (Annie Schofield) sits at the end of the stage and sets the “chapter” of each scene by playing drums and at times naming locations such as ‘bar’ or ‘taxi’. I quite enjoyed this process as it allows the visual to be created as you see it.

Lech Mackiewicz’s script has moments of sharp and witty dialogue, however there are times where things occur out of nowhere that seem implausible or there is no development on these revelations. In the final scene for example, there is a change in the relationship between Que and Moqui and Freya that seems out of place but is left up in the air.

Ditto, A Story takes a very innovative approach to theatre with its audition element and breaks the barrier of observer and participant in interesting ways, but it falls short in allowing its characters to establish an enduring connection with the audience.

Guest directors:


Deborah Leiser Moore (June 19)

Melanie Beddie (June 20)

Suzanne Chaundy (June 21)

Cheyney Caddy (June 22)

Daniel Schlusser (June 23)

Venue: La Mama Theatre, 205 Faraday Street Carlton

Season: Until 16 June | Thurs-Sat 7:30pm, Sun 6:30pm

Tickets: $25 Full | $15 Conc

Bookings: 
http://lamama.com.au
 or 9347 6142