★★★★½
After a 5-star debut with Dear Elena Sergeevna last year, Last Waltz Productions returns to the Old Fitz with Chekhov’s masterpiece, Three Sisters.
The play follows Olga, Masha, and Irina, all stuck in a provincial town and yearning to return to Moscow, which promises a life of meaning beyond their current circumstances.
Across four acts, the play charts their hopes, romances, and disillusionment, but as time passes, the life they dream of slowly slips further out of reach.
This iteration of Three Sisters is so singularly Last Waltz: they’ve absolutely left their mark on this classic. Its power lies in the spectacular performances and that signature sense of danger they bring to all their work. I found myself at the edge of my seat.
Admission: I’m not a Chekhov girl myself. I’m sorry. My main gripe is that the through line of his work is deep discontent with life and absolutely no urge to practically change their circumstances. Girls who dream of Moscow for four acts and, spoiler alert, never f**king go to Moscow.
But this rendition may just have won me over. This is Chekhov directed and performed by people who love Chekhov. You can feel that devotion seeping out of every corner. I’m so glad to see a classic like this brought into the independent theatre scene because this kind of theatre should be accessible.
Clara Voda’s direction shows deep reverence for the text while keeping it completely alive. I haven’t personally met Voda, but from all accounts, she is a force of nature. Voda has worked with many of the greats throughout her career, and breathing life back into the classics seems to be her lifelong devotion.
This take brings sensitivity, leaning into realism. While some overlapping dialogue occasionally draws focus, overall, it injects spontaneity and play into a work that could easily slip into something stuffy.
This is a huge cast, all of whom are spectacular. I’m so excited to see such a large ensemble hit the stage. Sydney’s theatre scene is severely lacking in ensemble pieces, favouring more budget-friendly two-handers. I completely understand, funding is unfortunately few and far between. However this pivot was a joy.
Now, there are genuinely a thousand actors on that stage, but each delivers such a delicious performance that I am determined to give every single one their flowers. This may take a sec.
Full transparency: I know and have had the pleasure of working with a number of these actors during my time at NIDA. In 2023, they were the shining third years, untouchable forces, and absolutely nothing has changed. I sit in awe of them every time I watch them work. They are, without a doubt, the next frontier of Australian talent.
Madeline Li as Masha is stunning, as she is in all the work I’ve seen her do. A searing portrayal of one of history’s best-known characters, she brings sensitivity and power in droves.
Teodora Matović as Olga is commanding. This is an actress who understands the muscularity of live performance.
Tessa Olsson is whimsical and bright, the perfect Irina. These three actresses carry the emotional weight of this piece with such ease. And their chemistry is undeniable, as it is across the entire cast.
Toby Carey, who portrays Tusenbach, I hope, is in everything I ever see. In this role, he is charm, swagger and musicality. His two-hander with Olsson in the final act pulls hard at the heartstrings.
Faisal Hamza as Kulygin is the comedic relief and beating heart of this show. Every time he entered a scene was like a breath of fresh air. He is so free on stage, his physical comedy is unmatched, and yet absolutely rigorous in his approach to the text.
It was also a joy to see Emma Wright as Natasha. I haven’t yet had the pleasure of seeing her perform, though many know her (alongside Lucy Clements) as a powerhouse behind the Old Fitz Theatre. She is an incredibly gifted performer, bringing Natasha to life in a way that lets you love her, then hate her with everything you’ve got.
Similarly, Lap Nguyen as Solyony is someone we love to hate. He has such a distinct presence and brings colour to every scene he touches. Ren Watson as Chebutykin delivers the best drunk acting I’ve seen in a long time. Hilarious. Loved it.
Alfred Kouris as Vershinin is every inch the leading man. The love that blooms between him and Masha is gut-wrenching and sexy. It’s everything you want from a doomed romance. Matthew Alexander, as Andrey, is transformative; his growth throughout the piece is a marvel.
Now to my personal hero of the show: Cym as Anfisa/Nanny. Nanny, I love you. You’re spectacular. So glad you got your happy ending, girl. Never change.
The level of commitment and improvisation here is no small task. This show is an absolute monster. A gruelling three-hour-long odyssey. Only when you are deeply in tune with and trusting of your fellow castmates can you pull off something this mammoth. They bounce off each other with ease; the energy in the room fizzes.
The set design by Ella Wilkinson is stunning. I love to see the Fitz undergo such a total transformation. Texture, levels, ornate detail; it’s a feast for the eyes.
I also need to take a moment for the lighting by Sam Wylie. This was so well executed, showing the progression and passage of time. The fire, specifically, was lit so beautifully. The lighting was a character of its own, guiding the audience through the passage of time and allowing us a peek into the emotional state of our characters, the temperature of the room, so to speak.
Last Waltz Productions’ relationship with the Old Fitz has made a real mark, and I’m so excited to see what comes next. In a play about longing, Three Sisters pulses with urgency, reminding us just how wild and alive indie theatre is.
Three Sisters is presented by Last Waltz Productions runs to 9 May at the Old Fitz Theatre, 129 Dowling Street Woolloomooloo NSW 2011.
Tickets: https://www.oldfitztheatre.com.au/three-sisters
Website: https://www.lastwaltzproductions.com/three-sisters
Socials: https://www.instagram.com/lastwaltzprod/
Photo credits: Robert Miniter
