by Freddy Puza ~

Three Sisters After Chekhov by Mustapha Matura is a superb, post-colonial adaptation of Anton Chekhov’s classic masterpiece. An ambitious undertaking, the play tells the stories of a privileged family living in Colonial era Trinidad and explores the delicate relationship we all have to ourselves, to family, to community and to the government.

Set in 1941, the play involves the three sisters and their brother who are trying to pick up the pieces and move on after their father has passed away. They all dream of returning to Cambridge, England where they spent a good portion of their youth, among other aspirations. However, these dreams are shattered when World War II escalates and the Trinidadian army is called to battle, causing each of the characters’ truth to come spewing out.

The play’s opening and ending tableau is simple yet striking: Alma, Helen and and Audrey Rivers are all standing at a window looking off into the distance. This image is an excellent representation of the sisters, each of whom are searching for meaning in this new world that they live in. They are looking for hope for a better future and security now that their father is dead. Returning to Cambridge is that for them. And while their dreams rise and fall they end up at the same place, waiting and looking for what’s already past.

One interesting element of the play was the view toward civic duty. Lt. Edward Scott chooses to leave the military to pursue starting a family and to seek Trinidad’s independence from the crown’s rule. This decision angers his good friend, Lt. Lucas, who considers this not only a professional betrayal but a personal one as well. Lt. Scott’s lofty ambitions also upsets Francis, Helen’s husband, who had made a decent living from the colonization and the war. He is no longer fooled into defending a country that has colonized his people and usurped their power, and he doesn’t want to become assimilated into the profit machine that drives the colonial endeavor. But for what? Ultimately, he loses everything for taking a stand and trying to take responsibility for his life.

Three Sisters After Chekov also investigates the power dynamics in colonized countries and the aftermath of that influence. Although married, Helen seeks a romantic relationship with Captain Richard Rivers, who is also married. The relationship is a fantasy where the two can run away from the dreadful realities of their marriages. However, one can’t help to wonder about Captain Rivers’ intentions. He refers to her in exotic ways, thereby othering her. Is she just another savage that he can play make believe with? On the other hand, does Helen just see him as a ticket to Cambridge and to a more secure life? Not surprising, Captain Rivers has to leave Helen behind. Helen has to deal with what’s left over. Similarly, once Trinidad finally achieves self-governance in 1956, the country has to deal with what’s left over.

The acting was stellar. Most notable were the performances by Diarra Oni Kilpatrick and Terrence Colby Clemons. Ms. Kilpatrick was the emotional through-line of the play. She obviously enjoyed playing the range of emotions of her character, which included light and fun to furious and devastated. It was her crushing emotional breakdown at the end of play when Ms. Kilpatrick shined the most. Mr. Clemons, who played Peter Rivers, shined bright as well. He carefully calculated each of his choices as his character descended from a bright future with a good job at the university to being manipulated in a controlling marriage to a debilitating addiction to gambling and booze.

The mission of the Lower Depth Theatre Ensemble is also one that is worth mentioning. The program says that they “seek to present the finest in classical, contemporary, and emerging American theater through the lens of the artist of color.” In the book, “Wide Sargossa Sea,” Jean Rhys writes a postcolonial novel based on Charlotte Bronte’s, “Jane Eyre.” “Wide Saragosa Sea” tells the story of Rochester’s first wife, one that gets excluded from “Jane Eyre.” While extremely ambitious, it’s exciting that LDTE is pulling classics from the literary canon, like Three Sisters, and putting them in a fresh setting and context. Their mission is pushing the theater tradition forward and building on the classics of the past to create a more rich, more diverse and more complete theater experience.

Regardless of whether it’s Moscow or Cambridge or wherever, Three Sisters After Chekov successfully reminds us of the power of theater to tell our stories, ask important questions and to share in our collective experience.

Three Sisters After Chekhov is performed on Fridays and Saturdays at 8 p.m., and Sundays at 4 p.m. through August 8, 2010.

The Lost Studio at 130 South La Brea, in Los Angeles, 90036. Street parking is available. Parking meters are free after 8 p.m. Monday – Saturday and on Sundays. Neighborhood parking is available after 6pm.

Tickets are $15 – $25.

Reservations online at http://lowerdepththeatreensemble.org/ or by phone (800) 838-3066