THEATRE REVIEW: The Bear - Lock 91, Manchester.

The works of Russian playwright Anton Chekhov are rarely seen in the UK at the moment (perhaps they are currently out of fashion), but even rarer is to see his work as part of a Fringe Theatre Festival. The Fringe is usually (although admittedly not always) devoted to new writing and experimental theatre. However, 'The Bear' is one of his shorter plays (lasting just 35 minutes), and so - unless it was being performed with another one act play - is an ideal length for the Fringe.

Oh, and the venue: Lock 91. I had never been there before. The theatre, such as it is, is actually the downstairs living room of what was obviously at one time a house. A large bay window looks out over the canal, and the area in front of this serves as the acting space, whilst the audience are cramped between there and the only door into the room. (unless of course you use the French window, which the production cleverly did). The room (or should I say stage) was decorated beautifully. Period touches abounded - including utilising the venue's own very Victorian looking decor.  

'The Bear' (subtitled "A Joke") is perhaps the nearest the Russians ever got to farce at that time. [the late 1800s]. Chekhov's dialogue is sparkling and caustic, direct and innuendoed. And with a cast of only three, it requires split-second timing and deft acting skill. In this evening's performance it took just a little time for it to 'get in gear', but once it did it was truly enjoyable. 

A wealthy young widow, (Elena Ivanovna Popova) still in her widow's weeds, is visited by a gentleman landowner (Grigory Stepanovitch Smirnov) proclaiming that he is owed a large sum of money from her late husband. She does not ask for proof of this, nor does he proffer any, but he refuses to leave until the debt is paid, and in turn, she refuses to pay until 2 day's hence since she does not have enough funds at her disposal. Their indiginations become more and more proposterous until she challenges him to a duel. Standing between them the whole time, trying to smooth things over best he can is 'the bear'; the lady's manservant (Luka), who is much more of a mouse, despite his size. (perhaps a little more comedy could have been wrought here between the two men as their comparative sizes were visually humorous in the first place?). However what actually happens between the two is quite the opposite of blowing each other to smithereens.

Without a programme I am unable to credit individual actors' names; but the three worked superbly together and despite the cramped nature of the space, still made it look and feel a lot larger than it was. I loved the gradual build in the relationship between Popova and Smirnov, each line a little more nuanced than the one before it, with Luka becoming more and more despairing and helpless as they became more and more passionate in their developing ralationship. Pure heightened comedy of the time, and it was lovely to watch. I also loved the moment half-way through where there is a piece of surprise physical theatre, so smoothly done that it was magical. 

The play would have most definitely been given the seal of approval from Chekhov I feel; very true to his original (with one or two more modern references just to make it a little more relevant), and was the high energy, fast-paced "joke" he envisiged. 

Reviewer - Matthew Dougall

on - 15.9.21