Spruiking a bright and sassy brand of re-invented classics- Cry Havoc returns to Wharf 1 for the second time in the last 12 months. Anton Chekov’s Three Sisters, the third installment of Cry Havoc’s developing body of work. You’ll know Cry Havoc by their flag, by their exquisite website, their tendency to have actors drenched, bruised or covered in dairy products on their marketing materials… You’ll know Cry Havoc by their brutal, unrelenting enthusiasm – and a slogan that declares revolution is afoot. So it is hardly surprising that Artistic Director Kate Revz has taken her team to the home of revolution and the home of Chekov- Russia.

For those who are familiar with ATYP’s Wharf 1 space – you’ll be utterly surprised. Designers Lucilla Smith (Set), Jack Audas Preston (Light) and Caitlin Porter (Sound) have transformed the space into a large modern house, in modern Australia. It’s impressive. Relocated to here and now, wisps of Russia float through – traditional text is transformed, transmogrified and yet salute the origins of the story and its writer. This is not the traditional text though, and for those purists expecting a dutiful Chekhovian production, you’ll need to note that this is “a new translation compiled by Kate Revz and Cry Havoc company based on Lawrence Senelick, David Mamet and Cry Havoc’s recent cultural research in Russia.” Don’t be fooled by the title of “Anton Chekov’s Three Sisters,” this is a contemporary interpretation.

Opening with a beautiful and visually lyrical opening sequence developed by Sam Chester- the tone is set as emotional, even tumultuous and we have a gestural bouquet of ideas- presenting moments to come. The stage fills with actors – and before too long, we launch into the story.

It has been a year since the death of their father, Colonel Prozorov, and it is the twentieth birthday of Irina (Kelly Paterniti)… and suitable quantities of happiness and melancholia collide. Olga (Georgia Adamson), a school teacher
with repeated headaches and Masha (Megan O’Connell) is married to a dull husband she yearns to escape… the house seems an endless flow of visitors and soldiers and philosophical declarations. It’s all very luxurious. Bowls of large flowers, strategic down lights… a contemporary Clive Peeters living hell. The ruminations on life, by those who seem to have everything, seem shallow and at times laughable… best summed up by Irina’s attempt to drown herself in the vase.
The three sisters easily eclipse their mournful brother Andrey (James Mackay) in dynamism – but not in depression… he wanders about with his violin and goggle-glasses letting his brimming potential slide- a cautionary tale if ever there was one.

It is a smart and knowing commentary on the comfortable upper classes- and nearly everyone seems so repugnantly self obssessed… as will happen when navel gazing is your primary sport. This is a play which exposes the compromises individuals make when circumstances impinge on dreams or expectations of love, work and life. Consumerism hums beneath this reading of Chekov, as we see them, drink, eat, demand, gamble and destroy themselves with a hunger for more than they have. It’s a beautiful life they live in – and they are beautiful but ultimately hollow.

If Chekov’s aim was to put life; “real, de-glorified, unglamorous life” on stage, as Kate Revz’s director’s note suggests – Revz exposes the life of the privileged on stage, glamorous, and occasionally hyper-real. At times it seems petty and hysterical. Surprisingly though, some performances poke through this veneer and we see an authentic self – and it is enough for us to care – namely a beautiful performance By Megan O’Connell and Duncan Fellows.

At times some of the staging was a little chunky and unsophisticated – belying the world of the sisters. Perhaps more of the movement introduced from the opening could have solved some of these blocking problems? Unlike Jason Blake’s response, http://www.smh.com.au/entertainment/theatre/three-sisters-20101019-16sgp.html , I felt that the movement was essential to tone and introducing more could have eliminated some of the more practical shuffles in the dark. It is a very good looking production – which Cry Havoc never seems to skimp on. At times though, Revz tendency to end on a bang and not a whimper can diffuse the more emotionally charged final moment of the play.

For those who have been following Cry Havoc’s work over this last year – Julius Caesar, Orestes 2.0 and now Three Sisters -you’ll be delighted by the signature vision Revz brings her company- bright, bold, playful, irreverent, contemporary, unapologetic and stylish.

Where are the women?
Booking their tickets to the 2009 Philip Parsons Memorial Lecture.
Perhaps we should all wear white- as to show up against the black seats of the theatre incase there is any misconception that we are invisible.
We are visible.
We have vision.

Rachel Healy, Director Performing Arts at Sydney Opera House and former long-term General Manager at Company B Belvoir will deliver a short opening address giving an introduction to the debate. She will then join the panel of distinguished women including: theatre notes blogger and critic Alison Croggon; emerging director Shannon Murphy; Marion Potts, Associate Artistic Director at Bell Shakespeare and Gil Appleton who will provide an historical overview. The panel will share their perspectives, pathways, experiences and thoughts for the future. Moderated by ABC Journalist Monica Attard the discussion will then be opened to the floor for debate.

The recipient of the 2009 Philip Parsons Young Playwright’s Award will also be announced at this event. Awarded annually to a playwright under 35 years of age, whose work demonstrates an original and compelling theatrical voice, the winner will receive a writer’s commission supported by Company B Belvoir. The 2009 shortlisted writers are Tamara Asmar, Van Badham, Tahli Corin, Nick Coyle and Caleb Lewis.

And I of course will be there to check it out.

Nice to note that three of the five shortlisted writers are women. I wonder how the lads feel about the lecture topic?

I am a fan of Tamara Asmar (I spotted Belle’s Line last year at The Old Fitz and approached her for Brand Spanking New) and Tahli Corin (I reviewed Bumming with Jane for www.australianstage.com.au) and Caleb Lewis (of whom I am a huge fan and have also have reviewed and hope to work with somehow someday…) I have reviewed Nick Coyle’s work (Hammerhead is Dead which was at the stables earlier this year) and you’d have to be living under a rock in the middle of the Simpson Desert NOT to have heard of Van Badham- so its going to be a corker of a day!

Also interesting to note that Joanna Erskine is not on this panel- but then again- she has started the conversation and should have the right to sit back and enjoy the banter in real time/life not just as bloggosphere wildfire.

Others I hope to hear from-
Rachel MacDonald – director (who has established her career in Opera and mainstages and has balanced career with motherhood- 4 kids!)
Kate Gaul- Artistic Director of Siren Theatre Company (also the new curator at Sidetrack Theatre)
Hilary Bell- playwright and Griffin Theatre Board Member
Lee Lewis- the only female director working ont he 2010 season at Belvoir
Kate Revz- Cry Havoc director

and I’d love to hear from the true emerging sector- that is the unknown- the directors and writers who maybe haven’t been to drama school and who are working in the industry- the ones who are doing it really tough- I want to hear from them-
Felicity Nicol
Jane Grimley
AnneMaree Magi
Scarlet McGlynn
Danielle O’Keefe

This is everyone’s discussion and I hope to see you there on the 6th!

When: Sunday 6 December 2009
Where: Belvoir St Upstairs Theatre, 25 Belvoir St, Surry Hills 2010
Cost: $10 available from the Belvoir St Theatre Box Office
(02 9699 3444). Tickets also available on the door.