New Forms Of Something Different: A Review Of “Three Sisters Come And Go”
by Sarah V. Schweig on May 17, 2010
photo by Enrico Luttmann
Immature poets imitate; mature poets steal;
bad poets deface what they take, and good poets
make it into something better, or at least something different.
T.S. Eliot
The very idea of Three Sisters Come and Go was risky to begin with. A collaborative effort between the actors — Liza Cassidy, Claire Helene and Jackie Lowe –, the director, Orietta Crispino, and dramaturg, Marco Casazza, the play would open with Samuel Beckett’s “dramaticule,” Come and Go, and then the following scenes would be drawn from the texts of Anton Chekhov’s four major plays: Uncle Vanya, The Cherry Orchard, The Sea Gull, and The Three Sisters (which, to add to the complexity of the intertextuality, is a play based loosely on the three Bronte sisters), and the entirety of the play was to be governed by Structuralist philosopher and critic Julia Kristeva’s ideas about … something or other.
