Three Sisters, Apollinaire Theatre Company Chelsea, through January 21, with evening and matinee performances on the closing day. 617-887-2336 or apollinairetheatre.com
Apollinaire Theatre Company approaches Chekhov plays and their rich repertoire of outsiders and marginalized characters as though they are family. Not long ago, the inspired company moved between floors and rooms at its Chelsea Theatre Works venue in an inspired performance of the Russian master's "Uncle Vanya" before a limited audience-in fact about 30 theatergoers per performance. Now artistic director Danielle Fauteux Jacques is bringing the same kind of intimacy to another Chekhov gem-namely "The Three Sisters.'' The result is an even more affecting triumph.
Leave it to Apollinaire Theatre to stage a labor of love revival that will make audience members feel as though they have known the title siblings Olga, Masha and Irina all their lives. Triple threat Danielle Fauteux Jacques-here helming direction, sets and lights-is even surpassing her very good work on "Uncle Vanya" with an equally you-are-there staging that captures the rich complexity of this 1900 masterwork. A poetic if sometimes raw 2009 adaptation by Tracey Letts-whose own strong recent drama "August: Osage County" clearly bears the influence of Chekhov-catches fire in moments of hope as well as despair and in scenes of solidarity for the sisters as well as stretches of conflict between couples and friends.
The sisters are vividly contrasted as they long to return to Moscow and cope with often alarming challenges as domineering sister-in- law Natasha-married to their hen-pecked brother Andrey-takes more and more control of their family home . Siobhan Carroll is a revelation as indomitable and remarkably optimistic Irina. Deniz Khateri finds all of Masha's marital unhappiness, while Becca A. Lewis captures harried teacher Olga's tenacity in a face-off with Natasha, played with properly increasing insensitivity by Olivia Dumaine. The same goes for Irina's suitors. Michael John Ciszewski has all of Baron Tusenbach's charm and vulnerability, while Jon Vellante proves a scene stealer as his alternately chummy and sarcastic rival Solyony. In a uniformly strong ensemble, Brooks Reeves catches teacher Kulygin's buffoonish demeanor as Masha's clueless husband, and Evan Turissini is equally persuasive as Andrey. Juan Carlos Pinedo proves very engaging as Vershinin, whose charms prove nearly irresistible to discontent Masha. There is also strong comic relief from Arthur Waldstein as deaf porter Ferapont who repeatedly exasperates harried Andrei.
Room by room, Jacques' well-detailed scenic design smartly captures the changing residential fortunes of the siblings. Look for an early expansive set-with a properly elegant dinner table-and the simply furnished bedroom to which Natasha assigns Irina as she gives her children more space. Kudos also go to Elizabeth Rocha's insightful costume design for the sisters and especially for Natasha's strikingly evolving outfits as she takes domestic control. Apollinaire's very fresh revival signals Chekhov's remarkable prescience as a stage spokesman for the 'other' characters who inhabit the rich world of his plays- the talented but undervalued traveling musicians, the vulnerable soldiers and often disrespected servants among them.
Characters repeatedly fear that they will be forgotten in the future. That refrain of concern may be timely for the lonely and disenchanted friends and family in the play's vivid stage tableau. Still, theatergoers need not worry. In an age of polarization, Chekhov's call for caring and strong family ties resonates more forcefully than ever. Apollinaire's vital "Three Sisters" is a revival to cherish.