THEATRE REVIEW: Three Sisters on Hope Street, Everyman Theatre

Jan 31 2008 by Philip Key, Liverpool Daily Post

Three Sisters on Hope Street at the Liverpool Everyman - Suzan Sylvester (May), Samantha Robinson (Rita) and Anna Francolini (Gertie) _320

THREE Sisters on Hope Street has the look, feel and sound of an important play. It may well be so.

A family saga set over two years in postwar Liverpool, the writers Diane Samuels and Tracy-Ann Oberman based it on Chekhov’s Three Sisters.

The parallels are fairly strong, the three Jewish sisters not longing for Moscow as much as New York where the family once lived.

A long scene-setting exercise covers the first two acts in which the many characters in the house reveal personalities and stories.

The meat of the tale is, however, in the final two acts where – as in Chekhov – disillusionment sets in.

Youngest sister Rita finds her dreams of a new life in Israel shattered, middle married sister May loses the love of her life and spinster oldest sister Gertie is left, as usual, to pick up the pieces.

Other figures in the house-hold also suffer, notably bro-ther Arnold (married between the first two acts) who finds himself in a dull and frustra-ting marriage and the 65-year-old lodger Dr. Nathan Weinberg who reverts to drink.

The writers have an ear for dialogue ranging from the ordinary at the tea table to the extravagant in some monologues. Emotionally, it builds to a fine conclusion.

A cast of 11 keeps the rambling household on Hope Street between 1946-48 pretty well populated. Amid the romantic entanglements with visiting US airmen there is a riot when Jewish families are attacked following the murder by Zionists in Palestine of British soldiers.

Some false notes are struck – Arnold’s harridan of a Scouse wife is a caricature and broody airman Solly more psycho than nasty.

The sisters themselves, played by Anna Francolini (Gertie), Susan Sylvester (May) and Samantha Robinson (Rita), are all well-rounded characters, believ-able and moving. The doctor (a great performance from Philip Voss) is also impressively written.

Directed by Lindsay Posner with delightful period design from Ruari Murchison, it is a play of depth and personal tragedy.

philkey@dailypost.co.uk