Three Sisters Questions

1. What type of stage would you consider this to be? A thrust? An arena? With a proscenium arch?

2. Why the octagonal shape of the platform instead of the usual regtangular shape?

3. How did you make those pretty trees? We wanted to touch them . . .

4. Staged transitions between Acts 1 & 2 and 3 & 4 . . . beautifully done. Was this indicated in the script or is this the director's choice?

5. Why is the piano outside in nature? Is it in the garden? On a deck? In a gazebo? Symbolically staged in the woods?

6. Did you specifically cast actors with Russian-looking features?

7. Were there any major differences between Chekhov's original play and this particular adaptation by Tracy Letts? If so, what?

8. A lot of the characters' costumes looked similar--it was difficult to discern who-was-who at the beginning. Was this intentional? (especially with the soldiers/doctor/baron)

9. Was the nurse's costume bunched up in the back to intentionally look frumpy or was that an accident the night we saw it?

10. Andrey--pushing the perambulator between audience and scene on the platform. Was this meant to take focus away from the scene? Was it meant to emphasize Natasha's lack of interest in a "girl" rather than an "heir?" Or are we reading too much into it? Was it simply that Natasha lost interest in her children?

11. Was the gunshot in the duel meant to be so very quiet? It's as if the characters onstage didn't hear it . . . was it fired for the audience's benefit so we could hear it?

12. Did the actor really play the piano? (It sounded great!)

13. We loved the live guitar and flute music. Did you ever consider having more of it throughout the play?

14. Casting--most actors seemed perfect for their roles. We were surprised at the comic nature of the baron. We were surprised at the older features of Masha. Were these casting decisions intended to highlight these aspects of the characters?

15. Acting--really great, all of them. Thank you!

16. Why did you decide to have Masha on the floor? Was that an actor choice or a director choice?

17. Was there meant to be an underlying, suppressed love between Masha's husband and Olga? (We saw it there . . .)

18. Were you doing anything intentional with the Ferapont's earmuffs? (We liked them, too.)

19. We're just curious, how many lighting instruments are used for this play?