PAUL DONOVAN applauds an intriguing multi-layered depiction, dominated by a stunning impersonation of Marilyn herself
THE futility of provincial existence is never far from the surface of Three Sisters and the contemporary tones of Cordelia Lynn’s adaptation of Anton Chekhov’s play, written in 1900, make it memorably explicit.
The eponymous Sergeyevna sisters, Olga (Patsy Ferran), Masha (Pearl Chanda) and Irene (Ria Zmitrowicz), dream of moving to the symbol of freedom and hope that is Moscow but with their army office father and their mother dead and their brother married to a “suburban little woman,” they’re trapped in a remote Russian town where they have only soldiers for company.
As Chekhov’s play unfurls, the sisters’ excited hopes give way to the cruel banality of everyday existence, one made more painful by the nostalgia which grips almost every character.
GORDON PARSONS appreciates fine performances and a feel for ambiguity, but misses the music of the dialogue
MARY CONWAY is spellbound by superb performances in Arthur Miller’s study of the social and personal stress brought about by Nazi Germany’s Kristallnacht
GORDON PARSONS is blown away by a superb production of Rostand’s comedy of verbal panache and swordmanship
JAN WOOLF is beguiled by the tempting notion that Freud psychoanalysed Hitler in a comedy that explores the vulnerability of a damaged individual



