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.
The soulful, rueful, and romantic Russian playwright Anton Chekhov is one of those evergreen, canonic dramatists who, like Ibsen, O’Neill, and Shakespeare, will never go out of fashion. No matter what continent or hemisphere you’re in, somewhere there’s guaranteed to be a stage where The Seagull or Uncle Vanya or Three Sisters or The Cherry Orchard is being performed. Rarely, though, do you get a chance to see his forgotten first play, Platonov. There are a couple of reasons for that: The first and most obvious is that, as written, the four-act drama is five hours long – an endurance test for even the heartiest and most devoted Chekhovian. Second, and more mysteriously, it’s just one of those plays that tends to get overlooked. It’s a second-tier work that seems to shrink when put under the same spotlight as Chekhov’s first-tier ones. It’s his Beethoven’s Symphony No. 2 — impressive, but no one walks around humming it.
As directed by John Crowley with a spare visual design, 'The Present' is an uneven, uneventful and aimless mess. It gets off to a poor start with a long opening scene that leaves audience members confused regarding the various character relationships. Blanchett gives a layered and enigmatic performance as Anna (Blanchett), a widow on the verge of turning 40. Looking stylish and sexy, Blanchett revels in revealing Anna's contradictory and spontaneous behavior, from lazily lounging around to getting drunk and dancing on a dinner table to brandishing a firearm. Blanchett is ably supported by Roxburgh, who brings an intense physicality to the passive but alluring Mikhail. The rest of the 13-member Australian cast has much less to work with in terms of characterization.
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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