The Upstage Interview: Christopher Aitkens and Kayleigh Choiniere on Three Sisters

Moscow! Moscow!

Upstage Host Eric Sukhu spoke with actors Christopher Aitkens and Kayleigh Choiniere about the Dawson Theatre presentation of Chekhov’s Three Sisters. Below is an abridged version edited by Estelle Rosen, CharPo editor-in-chief.

UPSTAGE

Before we talk about the play, why did you decide to study theatre?

KAYLEIGH

I have been doing theatre all my life. Went to FACE high school so for me the only option was to be an actor. Couldn’t imagine doing anything else.

CHRISTOPHER

Pretty much the same. At a young age, I randomly memorized Hamlet not knowing what it was saying. I was about 9 years old. Had found it in a Calvin & Hobbes comic. 

Everyone wants to go to Moscow. That line is repeated throughout the play.

UPSTAGE

You’re in third year. How does that feel?

KAYLEIGH

I’ve enjoyed being at Dawson, learned a lot, but at the same time I'm looking forward to getting out there and starting to work.

UPSTAGE

Tell us about Three sisters.

KAYLEIGH & CHRISTOPHER

It takes place over a span of about four years, in four different seasons. Set in Russia at the turn of the 20th century in a rural town. Everyone wants to go to Moscow. That line is repeated throughout the play.

UPSTAGE

Do we know where in Russia they’re living

KAYLEIGH

Chekhov never says where exactly. Somewhere in rural Russia.  It’s assumed it’s very far from Moscow. 

UPSTAGE

What roles are you playing?

KAYLEIGH

I’m playing Irina, she’s the youngest sister.

CHRISTOPHER

I’m playing Ferapont classic Jacobean deaf old man.

There’s so much that people can relate to; dreams, love, broken dreams.

 UPSTAGE

This is a play that has been presented many times; yet people flock to see it. What do you think is the appeal of Three Sisters?

KAYLEIGH

There’s so much that people can relate to; dreams, love, broken dreams.   Our director wants to play up the joy of life and the comedy in it, but we can’t deny that this is a very sad play. 

We’re using a modern North American translation by Paul Schmidt so it’ll be more relatable to younger audiences. Sometimes people get intimidated by the idea of a Chekhov play but because this is geared to a younger generation of Chekhov followers, it’ll be a lot of fun to watch. 

CHRISTOPHER

In the past a lot has been lost in translation. What Paul Schmidt did is study it over a period of maybe 30 years and tried to contemporize it as much as possible to make it understandable to a modern audience.

UPSTAGE

Chekhov’s plays including The Cherry Orchard, The Seagull, Uncle Vanya are very popular. This one stands out  from the others. Is it presented as an ensemble piece?

. 

KAYLEIGH & CHRISTOPHER

This is very much an ensemble piece.  We’re 16 people, lots of double casting. 

UPSTAGE

I understand one of your teachers, Barbara Kelly, is directing. 

KAYLEIGH

She  directed one of our studio productions so it’s good to work with her again; we know her style of working. 

Instead of keeping it strictly 19th century, we’re going to suggest the time period via costumes and props to give it a more contemporary feel.

UPSTAGE

What was her take on this show?

KAYLEIGH

She wanted to take some liberties with it so as to make it more accessible for younger audiences. Instead of keeping it strictly 19th century, we’re going to suggest the time period via costumes and props to give it a more contemporary feel. 

UPSTAGE

How was the working process – was it fun?

KAYLEIGH

I thought it went really well. It's nice to be able to apply what we learned last year 

CHRISTOPHER

She really pushes us to internalize, to play from our soul. I tend to overdo it so she has encouraged me to take a step back and be more natural instead of theatrical.

KAYLEIGH

Chekhov is real; performance needs to come from the heart. She’s really helping us with that. She will take us out of it for a second, and ask what is your intention with this line, what does it mean. It’s much better after that.

Jan. 25-Feb. 4

Dawson Theatre