Chekhov on Stage

Successful drama blends theater, stage, and actors in a special atmosphere—an air of mystery—that arouses new feeling and perceptions. You are changed, at least temporarily, by the magic that keeps drawing you back with wonder and anticipation.

But today, in front of a bare, curtainless stage at the College of Charleston’s production of The Seagull by Anton Chekhov, I was discouraged. The sound of dissonant cello music was more agitating than mysterious. And my wife, who is Russian, sighed wistfully, “There is absolutely no smell of nineteenth-century Russia.”

The College of Charleston stage set

The director’s program notes proffered an explanation of how the minimalist set and costumes “permit the actors a wide range of motion without any of the limits that might come with a known fashion era.” Yet, there would be no wide range of motion on stage. And overlooked was the recognition of how set and costumes create not just historical context, but human interest. Life is not lived against a neutral backdrop, nor does it derive meaning just from itself. All the surrounds give it dimension, depth, charm. And that thick velvet curtain—rarely as you see it these days—serves like nothing else can as a guardian of suspense and a gateway to the unknown. When it goes up, it should at least for a second take your breath away with it.

Unfortunately, modern drama—its many merits notwithstanding—is too often a sterile, matter-of-fact dissection with over emphasis on actor and acting. It is an imitative attempt at new form, exactly as Chekhov was trying to do with his play. And in this sense, today’s stage set was fitting. Nevertheless, the effect failed to combust. But not because of the cast, who were impressive and fun to watch, and who were admirably led by Kaitlin Winslow in a captivating performance as Nina Zarechnaya.

No, the trouble was a lack of theatrical magic. The story was told, the characters were interesting, and the psychological tension was palpable. It was partly Chekhov himself who did not reach culmination—which you could feel as the end of the play grew gradually more languorous before dissipating inconclusively. At the same time, the empty stage never provided enough contrast to the void into which the main characters slowly fell. It was already void. But most importantly, the deep sense of tragic—so embedded in Russian history—was not fully conveyed.

Checkhov and cast reading the script

These characters are prisoners hemmed in by an overbearing culture that drives each of them to extremes of aspiration, anguish, and despair. It is not a pretty picture, and Chekhov was no doubt trying to get at that. But I don’t think he made it all the way. As perceptive as he was, and notwithstanding his long, admirable bout with tuberculosis, The Seagull is an interesting cross-section of Russian history, but not a masterpiece; a clear profile, but not a legendary statement of truth. As with so many of his short stories, the characters and events are intriguing, but without imbuing in the reader (or audience) any sense of finality.

It makes you wonder in this photo (with Chekhov reading, his actress wife on his left, renowned actor/teacher Stanislavsky on his right, and The Seagull cast around) to what extent they felt they understood the full meaning behind his play. ¶

Occidental Orthodox

Who would think that, just off Mathis Ferry Road in a quiet Mount Pleasant neighborhood, there would be a newly built Orthodox church, and that it is home to a burgeoning Russian congregation? The Holy Ascension Orthodox Church is humble compared to its spectacular predecessors in eastern Europe and Russia. But once it is completed—with painted ornamental ceilings and walls—it will come close to conveying the same mystical ambiance.

Holy Ascension Orthodox Church

As you enter, several characteristic features stand out: the heavy wooden doors, the voluminous dome, the streaming natural light, and a lack of furniture. In the Orthodox church, of course, the congregation stands or kneels on the floor. There are no pews. And if it’s a busy service, you are huddled together, shoulder to shoulder. There is nothing elegant or private about the experience, which may also be why it feels so special. That and the scent of incense and candles.

I was only sorry to see that the floor is wooden rather than stone—even though wood floors are typical, for example, in small provincial Orthodox churches. It’s just that there is something about a steeple (or dome) accompanied by a stone floor that conveys a sense of earth and sky bound together.

Detail of columns

Nevertheless, a devoted congregation has obviously gone to great lengths to get this church built and operational. Even with its unfinished interior and landscaping, the building already has a definite charm of its own. Most importantly, it has a feeling of quiet stillness that helps transport you to the same within yourself—which is the essential value of any church experience.

It’s also easy to suppose that this church must be a comfort to its Orthodox members, especially those from eastern Europe and Russia for whom it provides the familiarity of architecture, icons, and mood.

Icon of Christ

Not coincidentally, Orthodox Christianity is on a dramatic rise in Russia, in terms of church goers as well as those interested in the priesthood. According to the April 2009 issue of National Geographic magazine, “millions of Russians have been baptized since the end of Soviet rule (in 1991) and nearly two-thirds of the population now identify themselves as Orthodox.” You can read the article online here. ¶

Learn more about the history of the Eastern Orthodox church.

Learn more about the history of the Russian Orthodox church.

Holy Ascension Orthodox Church
265 N. Shelmore • Mt. Pleasant
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Modern Medley at Memminger

If you didn’t know otherwise, you would think that Sarasate’s Fantasy on Bizet’s Carmen was by Bizet. It is passionate, evocative, and bold—just like Carmen herself. But, then, Pablo de Sarasate was Spanish whereas Bizet was French.

French soprano Emma Calvé as Carmen

And is it possible that my non-musical ear detected a slight Russian lilt in the violin rendering of the dance movement? After all, violinist Yuriy Bekker hails from Belarus. It would be interesting to hear what he thinks about that. Regardless, it was a joy to watch his fingers dance with intrepid ease across the strings. He has seamless technique and a wonderfully fluid bow. I don’t know a lot of what he did in technical terms, but he sure made it look easy to play a showpiece composed by a virtuoso violinist.

Mr. Bekker also seemed to be a fraction of a second ahead of the orchestra, making me wonder if he was overly fast or the orchestra a tad slow. After the performance, I asked my music guru Lindsay Koob (see the link to his review below) and he said, yes, Yuriy was playing just ahead of the orchestra—by design, to ensure that the solo instrument’s voice remained audible.

That was just one tidbit of my furthering education at a Memminger Auditorium performance that began with conductor Scott Terrell explaining turn-of-the-century neoclassicism. Obviously well prepared, he had the eight wind players demonstrate passages they would be playing from Igor Stravinsky’s three-movement Octet. He did the same thing before the last piece of the night, Sergei Prokofiev’s Symphony No. 1 (with its hauntingly beautiful third movement that went into Prokofiev’s Romeo and Juliet ballet score).

Yuriy Bekker

Mr. Terrell’s instruction not only made the pieces more transparent, more approachable, and more enjoyable, it provided valuable insight into early twentieth-century musicology and made it a lot easier for listeners like me to hear modern pieces.

It was also refreshing to see the musicians in less formal, more colorful attire. Their open-collared pastel shirts and blouses were just right for the casual setting. The orchestra felt like a family and we, the audience, felt like welcome guests. And isn’t that the best way to enjoy playing and listening to good music? All too often, the large auditorium environment prevents musicians and audience from really connecting with each other. The “fourth wall”—as actors call the stage front—proves impenetrable, whereas Memminger is a horseshoe, almost in-the-round environment that makes the experience tactile and personal.

The atmosphere became even warmer when, after the concert, the audience mingled on stage with the musicians. Too bad this was the last performance of the 2008 season. I’m already looking forward to Professor Terrell’s ‘classes’ next year—and hopefully the chance to hear Yuriy Bekker up close again. ¶

Read Lindsay Koob’s review in the Charleston City Paper.

You might also enjoy George Hubbard’s review at PostandCourier.com.

Stop, Look, and Linger

There are so many magnificent buildings in Charleston that go unnoticed, especially if you’re driving. Even if you’re walking, you have to make a concerted effort to stop and really look. Next time you have the chance, pause for a few minutes in front of one of these jewels—be it a public building, church, or residence—and grant yourself the luxury of just looking. Try to linger longer than you think you have time for.

First Baptist • 61 Church Street

For instance, the First Baptist Church has one of the simplest facades in the city. Its neoclassical design includes Doric motifs of simple columns and capitals, a bare frieze with triglyphs, and an empty pediment. The columns lend grace, grandeur, and generous access to 3 sets of doors that are capped by arched Palladian windows.

Take a good look (preferably in person) and try to imagine this facade without the arched windows. Notice how they not only ‘lift’ the doors, but how they soften the effect of so many right angles in the rest of the design. Then try to picture the facade without the three rectangular windows that are 8 feet above the doors.

The empty space would be too much; the upward motion would be too emphatic. As it is, these small windows imperceptibly slow the eye as it is drawn up by the columns and doors. Their slightly rectangular shape—the effect would not be the same if they were square—also serves as a visual weight that keeps the pediment (the triangle up top) from jumping skyward.

What’s fascinating is that these three windows are the least spectacular part of the facade, yet they are the modifying ingredient in the upward thrust and the hinge that unifies all the other parts—columns, doors, frieze, and pediment. The overall harmony of proportions also enables the church to coexist unobtrusively in a residential neighborhood. Although its scale is larger than the houses, it does not feel at all out of place.

Don’t forget to study the wrought iron fence in front. The box-shaped stanchions with pointed caps reinforce the vertical thrust of the church. Without them, the fence (as only a horizontal line) would hold the eye down. Notice, too, the built-in lamp posts—an elegant and uncommon feature in wrought-iron fences around town. Their perfect placement serves almost as a frame to the front view of the church. The fence designer(s) obviously took great care to complement the architect’s precision.

Trinity United Methodist • 273 Meeting Street

For fun, here’s a comparison: Trinity United Methodist Church. This design is more massive, based on a more elaborate (Corinthian) style, with more columns, and only one door (see the detail below).

This time, try to imagine the effect if there were no decorative cornice above the door, or if the door was larger or smaller. If you’re there in person, you’ll also see that this building is higher off the ground than First Baptist Church. There is a different feeling as you walk up two flights of steps to this ‘house of worship’. In fact, it’s nice to do just that and spend a few minutes appreciating the massive doors and the spaciousness of the tall ‘porch’. After all, lingering—especially if you’re really looking—is good for the soul, and what better place to nourish it than in front of a beautiful church. ¶

Detail of carved doors

WHITE TEXT

First Baptist Church
61 Church Street
Robert Mills, architect
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WHITE TEXT

Trinity United Methodist Church
273 Meeting Street
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