Moscow, Moscow, Moscow, Moscow, Moscow, Moscow

B-

Poor Chekhov! Playwrights just can’t seem to resist putting their own stamp on his plays. Last month we got an encore run of Life Sucks., Aaron Posner’s quirky riff on Uncle Vanya. Now MCC Theater is presenting the New York premiere of Halley Feiffer’s (The Pain of My Belligerence, I’m Gonna Pray for You So Hard) deconstruction of Three Sisters, which played at Wiiliamstown Theatre Festival two summers ago. Of the two adaptations, Feiffer’s is by far the more entertaining and is probably the truer to Chekhov. Feiffer gives us the original characters in exaggerated versions who leave no thought unsaid. The dialogue is anachronistic, coarse and often very funny. Feiffer daringly makes each sister so unsympathetic in her opening monologue that it is not easy to win our sympathy; she mostly succeeds at meeting this challenge. This production dials up the volume with provocative casting involving bending gender, changing race and introducing dwarfism. Somehow it works, probably because the actors are so convincing in their roles. Rebecca Henderson’s (The Wayside Motor Inn) Olga raises self-deprecation to an art form. Chris Perfetti (The Low Road) is so persuasive as Masha that it seems completely unremarkable for the role to be played by a man. Tavi Gevinson (This Is Our Youth, Days of Rage) captures both Irina’s allure and her aimlessness. As their feckless brother Andrey, Greg Hildreth (The Robber Bridegroom) is appropriately conflicted. Sas Goldberg (Significant Other) smoothly accomplishes the transformation of Natasha from target of scorn to tyrant. Steven Boyer (Hand to God, Time and the Conways) is tender and pathetic as Irina’s suitor Tuzenbach. Casting Solyony with a dwarf, the excellent Matthew Jeffers (Light Shining in Buckinghamshire), makes the universal scorn he receives even more uncomfortable. Alfredo Narciso (Time and the Conways) makes Vershinin both sexy and pitiful. As Masha’s husband Kulygin, Ryan Spahn (Gloria) is appropriately irritating. Ray Anthony Thomas (Jitney) brings pathos to the role of Dr. Chebutykin. Ako (God Said This) makes a strong impression as the family’s ancient servant Anfisa. As minor civil servant Ferapont, Gene Jones (The Trip to Bountiful) is aptly bumbling. The humor of the first act is less in evidence after intermission. By the end, we are more saddened than amused. Director Trip Cullman (Choir Boy, Lobby Hero), Feiffer’s frequent collaborator, shows great affinity for her sensibility. The production shows off MCC’s black box theater to great advantage. With the audience sitting on facing sides of the raised stage platform, no one is more than four rows from the actors. The key visual element of Mark Wendland’s (The Pain of My Belligerence) scenic design is a large illuminated “Moscow” sign over a diorama of the city at one end of the auditorium. Paloma Young’s (Peter and the Starcatcher) costumes mix period gowns with modern tee shirts and hoodies. I was frequently entertained along the way, but when it was over I had to ask myself what the point was. I don’t see what contribution Feiffer has made to the appreciation of Chekhov. I would like to declare a hundred-year moratorium on adapting or deconstructing his works. Running time: 2 hours including intermission. NOTE: I strongly urge you to brush up on Three Sisters before attending.