Variously known as Platonov, Wild Honey, Fatherlessness and The Disinherited, Anton Chekhov's untitled first play was not discovered until 1920, some 16 years after the playwright's death.
Andrew Upton's adaptation is set post-Perestroika in the mid-1990s at an old country house where friends gather to celebrate the birthday of the independent but compromised widow Anna Petrovna (Blanchett). At the center is the acerbic and witty Platonov (Roxburgh) with his wife, his former students and friends and their partners. They may appear comfortable, but boiling away inside is a mess of unfinished, unresolved relationships, fuelled by twenty years of denial, regret and thwarted desire.
... if the politics of this Platonov revamp are apt enough, the drama still founders on the play's inability to link them convincingly to the nearly farcical social comedy of individuals at loose ends. Partly this is because the production, directed somewhat bumpily by John Crowley, keeps the politics at bay for too long while it focuses on the radiating damage an empty man can cause at great removes, like a storm surge. We do not really understand the stakes until it's too late, which may be accurate for the characters but undermines the audience. Chekhov's famous dramaturgical dictum - 'one must never place a loaded rifle on the stage if it isn't going to go off' - is meticulously observed here; the General's old pistol is all but spotlit throughout. But however much damage it finally causes, it isn't enough to turn The Present, which operates best as a comedy, into the tragedy it seems to wish it were. It would take Chekhov another 20 years to figure out how to make the two things into one.
The entire company of 13 has been with the production since it debuted in Sydney in 2015, and that commitment shows both in the depth of the individual characterizations and the sparks of their interactions. While there's not a weak link in the ensemble, I particularly enjoyed McKenzie's increasingly single-minded Sophia; Prior, bringing puppy-dog devotion to Sasha; Jacobs' wistful Alexei; Marshall Napier, amusing as the boozehound father of Sasha and Nikolai; and Ryan as Sergei, a meek, uninteresting man painfully aware of his own dullness. Weaving together these characters and their hollow lives in a context that connects them both to Chekhov's Russia and to our own uncertain world, Upton, Crowley and this accomplished company have elevated a problematic play into something unexpectedly satisfying.
2017 | Broadway |
Original Broadway Production Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2017 | Drama Desk Awards | Outstanding Actress in a Play | Cate Blanchett |
2017 | Drama League Awards | Distinguished Performance Award | Cate Blanchett |
2017 | Tony Awards | Best Performance by an Actress in a Leading Role in a Play | Cate Blanchett |
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