From Russia, with love, comes the story of the Prozorov sisters.
Anton Chekhov's classic, 'Three Sisters' has been adapted for the Australian stage by Sydney-based theatre company, Sport For Jove. The tale of heartbreak, love, loss and the realities of life follows the lives of sisters Olga, Masha and Irina Prozorov as they navigate Tsarist Russia in the early 20th century.
Translated by Karen Vickery and directed by Kevin Jackson, Sport For Jove's production of 'Three Sisters' features Justin Stewart-Cotta in the role of Vershinin, a military commander and love interest of middle sister Masha.
Are you excited for your debut with Sport For Jove?
Yes I am particularly excited about it, given the calibre of work that SFJ continuously and consistently produce. It is an organisation filled to the brim with quality people, from day to day management through to the board. Helmed by Damien Ryan, a deep and old soul if ever I came across one, SFJ continue to bless it's audiences with world class productions. Recent cases in point being 'Of Mice And Men' and 'The Taming Of The Shrew'. We humbly hope to maintain the habit. I have had the privilege of being directed by Damien in 'Romeo & Juliet' and suffice to say it was a revelation. His ability to simultaneously honour and re-invent classic text is par excellence. I have been a fan for a while now... I have the merch to back it up.. SFJ t-shirt and cap.. Boom! Casually throw in that our production of 'Three Sisters' is being directed by my acting mentor, Kevin Jackson, and I think you will find that I am more than chuffed to have been cast!
How familiar were you with Chekhov's work and this play before getting the role?
With a degree of embarrassment I must say this is indeed my first exposure. I had seen several Chekhov productions, without having ever been directly involved. I was mesmerised by Cate and Richard in the Belvoir production of 'The Seagull' in 1997.
Image © Marnya RotheIs this a faithful adaptation of Chekhov's original story, or has it been modified for a modern Australian audience?
Translated masterfully by Karen Vickery, it can be said that this adaptation of 'Three Sisters' goes deep into the heart of Russia, albeit scribed in the English language. There is, very consciously, no attempt to Westernise the "feel" of the text, nor has Karen stumbled into a kind of gentrification of Chekhov, as so many older British translations do. As a company, we aspire to inhabit a world akin to Nikita Mikhalkov's 'Burnt By The Sun', rather than a snooty colonialist appropriation of Russia culture.
What has been your biggest challenge in mastering the character of Vershinin?
Look... Vershinin has the gift of the gab... And so do I... You wouldn't have to look too far to find a testimonial that corroborates that... But, technically speaking, Vershinin's rhythm is quicker than mine. So getting Vershinin at pace is proving to be a wonderful challenge. I can't help but think of how accurately and swiftly both Ewen Leslie and Toby Schmitz rattle off swathes of Chekhov without even the slightest tax on detailed thoughts. It is genuine skill, one which I hope to add to my repertoire. On an emotional level, playing Vershinin can be difficult in the sense that he suffers from the disease of loneliness... He is deeply unhappy, perhaps clinically depressed. Delicate territory, both in life and on stage.
Written in 1900 in pre-Revolutionary Tsarist Russia, what do you think is the contemporary significance of 'Three Sisters'?
The great moments in a person's life typically take place within them, rather than outside of them.. their relationships with others and indeed with themselves.. In that sense a great observer of humanity will always be in vogue. And also, perhaps, if we take an objective and honest look at Planet Earth circa 2016, we must admit that we balance precariously on the very precipice. Of what? We do not know. Similarly, in 'Three Sisters', Chekhov's embodiment of his "left brain", the character Tuzenbach, speaks prophetically of a great storm, of "gathering thunder clouds". So, is Chekhov speaking of a great storm that cleanses and revitalises humanity? Or a global tempest that brings with it oblivion? The fact that this is left casually open ended, infers choice. There was a choice in 1900, and there is a choice in 2016... For me, this is the genius of Chekhov.
Image © Marnya RotheIn terms of technical production, what is the visual aspect of this play?
We have set the play inside a perspex box.. JOKING! I won't spoil it, but there is a piano, a great many chairs and a rather curious spinning top!
In your own interpretation of the story, what is the underlying message or moral of 'Three Sisters'?
I have fallen in love with Chekhov, due in large part to the fact that he prescribes no iron-clad morality or manifesto to 'Three Sisters'. I don't say that he is apolitical, nor do I say his writing is entirely devoid of opinion and/or personal judgement, but you are dealing with a doctor first and a writer second. His ability to be clinical and objective, his ability to be a scientist first, his ability to not be seduced by sentimentality nor be bound by religion; these are wonderful gifts because it means the audience get to make their own decisions. The audience are actively engaged and indeed called upon to think for themselves. I feel that Chekhov may have been humble enough and gifted enough and intelligent enough to know that he knows nothing.
You're a NIDA graduate with an extensive background in theatre, television and film. Where else can we see some of your performances?
I was a member of the band V.A.S.T. and lead singer of Memento, and umm.. there are some fairly incriminating rock videos floating around on YouTube.. Quite possibly some mesh singlets and pleather pants involved. That's as much as I am prepared to say without consulting my solicitor.
'Three Sisters' plays the Seymour Centre from 28 July-13 August.
