I have seen the Pear production of Three Sisters; it's one of the most magnificent things they've ever done.

However, it's unfortunate that Melody Dye wasn't up to the level of interpretive excellence necessary to understand the nuanced beauty of perhaps the best production of a Chekov play that I and my friends have ever seen - and, we are not amateur theatre goers.

In all, the Pear production of "Three Sisters" is marvelous, and very illuminating. It's experiencing - as do most Pear Theatre productions - a sold out run.

If you have time - even if you've never read a Chekov play - go see this wonderful rendition of a story that moves, and reflects back life and its depth more than most things we experience as entertainment today.

[Remaining 1,220 words of post removed by Mountain View Voice staff]

i was there with "Theatre goer" and couldn't agree more

for addtional, in my view, far more competent reviews of this work, see the following. these reviews are not without their quibbles, but they - unlike the voice' review - do full justice to this exceptional production

Web Link

and, here's one from the San Mateo Times (I think)

"Three Sisters," by Anton Chekhov. Translation by Craig Lucas.
PERFORMED BY: The Pear Avenue Theatre
WHERE: 1220 Pear Ave. Unit K
WHEN: 8 PM Thur. to Sat.; 2 PM Sundays. Closes September 30
TICKETS: $15 to $25.
CONTACT: 650-254-1148
_________________________________________________________________
When you attend a show at the Pear Avenue Theatre, it's likely
you will enjoy a performance as good as you will see anywhere.
That's because many of the best of the Bay Area performers are
drawn to this 5 year-old forty-seat enterprise that specializes in
the best of the theatrical literature, irrespective of commercial
viability.
And, a chance to perform in the "Three Sisters," by Anton
Chekhov, is just the sort of classic work to which serious
performers flock.
As a result, director Jeanie Forte was able to gather together
one of the best casts in memory. Forte, herself, is an
accomplished, insightful and sensitive director and with these well
cast actors, and another period-inspired set by Ron Gasparinetti,
this sizes up to be a memorable performance.
The three sisters are from the Prozorov family, raised along
with their brother, in comfortable circumstances in Moscow, as
children of a military father, whose death, along with their
mother, brings them now to live in a small "nowhere" town in the
countryside.
Olga (Meredith Hagedorn) is the eldest, a spinster, and the
inheritor of the "mother of the family" role.
Masha (Elizabeth Coy) is the most beautiful of the three, but
full of ennui from her marriage at age eighteen to a much older
Fyodor Kulygin (John Baldwin), a high school teacher who is boring,
self-centered, somewhat pompous, but an eternally loving and
forgiving husband.
What Kulygin needs to forgive is her affair with the local
military commandant Alexander Vershinin (Andrew Harkins),
complicated by his being married and with two children.
The youngest is Irina (Sarah Cook), eternally yearning to
return to her happier days in Moscow, even as she is fending off
the marriage proposals of another military officer, Baron Nikolay
Tusenbakh (Rob Dario).
In the European fashion of the day, sisters defer to and
protect brothers and Andrey (Thom Gorrebeeck), needs much of that
when he marries the scheming, more common Natasha (Shannon Stowe),
who sets about to take control over the household.
A 60 year-old army doctor Ivan Chebutykin (John Hutchinson),
is a close family friend, and a cynical onlooker and belittler of
the importance of the typical human foibles that assail this
family, as only Chekhov's great human insights can record in a few
hours, and are the typical dynamics of most upper class families,
everywhere.
David Hamilton is excellent as Captain Vasily Solyony, a
sarcastic pain-in-the-butt guest in the house along with his fellow
officer Baron Tusenbakh.
Jim Johnson is an actor who brings unique nuances to each
minor character role he undertakes and, as Ferapont, the town's
District Council watchman, he brings great relief comedy at sorely
needed times.
Lynda Marcum is perfect as Anfisa, the aging family servant,
fearful of being thrown out into the cold world as she becomes less
useful.
This is a far-looking and perceptive play, set in about 1900,
where Chekhov foresees the decay of Russia's priveledged classes
that are eventually completely terminated by the Russia's
Revolution eighteen years later.
Also, in true Russian introspective tradition, Chekhov blends
in the kind of philosophical musing that only the upper classes had
the education and time in which to engage.
But, that doesn't in one whit diminish the enjoyment of a
great theatrical work, constructed by one of the world's greatest
playwrights, in a very approachable modern translation by Craig
Lucas

Theatre goer,

While we very much welcome opposing points of view on Town Square, we don't allow personal attacks on the writers themselves, be they from our staff or other posters.

The part of your post I've left up provides one example of what I mean -- "it's unfortunate that Melody Dye wasn't up to the level of interpretive excellence necessary ..." -- which is a fancy way of saying she's stupid. I've taken out a full 1,220 words worth of similar remarks, with every paragraph calling her by name and finding some new way to insult her personally.

I like and admire the Pear, but Shirley's comment " When you attend a show at the Pear Avenue Theatre, it's likely you will enjoy a performance as good as you will see anywhere." struck me just a bit funny. You see, the last time I went, an actor actually forgot his lines and had to very obviously back up and repeat them. I see plays all over the Bay Area and at Ashland and this is one of the first times I've ever witnessed this.

But I wouldn't suggest this deter anyone from going to the Pear though.

I didn't see Theatre Goer's review, but I have just read your reviewers take on that play. Was your reviewer at the same performance I was at, the one where several people stood up applauding at final curtain?

Much of what your critic has written seems disjointed, and more about what she thinks she knows, rather than what she saw and heard. There are too many thatre critics writing from the head, with little heart showing up in their work

I heard last evening that the entire run is nearly sold out, as often happens at the Pear. From now on I'll look elsewhere when I see a review from this theatre critic. Thank goodness I didn't see her review until after I'd sen this play. It was great!

I just saw this production last night. I couldn't agree more with Melody Dye. I favor the Richard Nelson and Van Itallie translations of Chekhov, but I'm really just quibbling. Solid cast, middling translation, lacking the proper tempi as well as higher and lower emotional ranges, not personalized enough, playing area too small for such a large cast, needed the air taken out... capable cast, unsure direction. Check out the Nikos Psacharopoulus TV version of The Seagull or the various films by the Russian director of Burnt by the Sun to get a better idea of the performance level that is needed. I am grateful that other are as passionate about Chekhov as I am, as a final note.