Hilary Bell’s adaptation of Chekhov honours his spirit while embracing those awkward pauses.

State Theatre Company of South Australia

February 25, 2014

As the audience filed down back stairs into STCSA’s rehearsal rooms and scenic workshop, the anticipation was palpable. No one knew what to expect and no one could have guessed they would be greeted with such a stunning transformation of space.

Flanked by audience seating on both sides, and stacked with elements of the set at the far end, the stage, with it’s simple but interwoven wooden floor, stands bare, bold and beautiful. Domed lights hang artistically from the ceiling and others beam in from the end wall. Music laps the space and in a raised corner of the room, partly hidden from view is the cast; listening to the music and watching the audience find their seat. Even before it starts, it has begun.

From the onset, with Masha (Matilda Bailey) preparing the stage for the play, within the play, with Medvedenko (Matthew Gregan) lovingly and pathetically watching on, it is clear that this adaptation by Hilary Bell will honour the comedy of the piece Chekhov so believed in. I’m not sure he’d ever envisaged the entertaining use of...