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Remixing Chekhov
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Chekhov for the 21st Century. Carol Apollonio and Angela Brintlinger, eds. Bloomington, IN: Slavica Publishers, 2012, 349–54. Remixing Chekhov Sasha Waters Freyer It arrived in Iowa by mail on a gloomy afternoon in February 2006, a small, lumpy package from the celebrated New York writer Phillip Lopate. I tore through the bubble wrap. It was The Tape, a single word—”Vanya”— inscribed upon its label. I was in my office with a myriad mundane mid-‐‑ semester tasks that demanded my flagging attention. I was busy, distracted, but felt compelled to watch just a few minutes, for fun. The grainy black-‐‑and-‐‑ white images hissed to life on the VHS deck. “Drink some tea, my boy”—the opening line of dialogue from Anton Chekhov’s melancholy play about bro-‐‑ ken adults reckoning with the disappointments and futility of their middle-‐‑ aged lives, spoken by eleven-‐‑year-‐‑old Ayesha Wilson. “No thanks, I don’t feel much like it,” replies the rakish Doctor Astrov, performed by sixth-‐‑grade heartthrob Slim Pritchett. “Nurse, how long have you and I known each other?” he asks wearily. How long indeed? Ayesha muses that it has been “Eleven years, maybe even more.” Nearly thirty years after this video was taped, I am watching a produc-‐‑ tion of Uncle Vanya staged by New York City fifth and sixth graders at Public School 75 in Upper Manhattan under Phillip Lopate’s patient direction and occasional coercion. On screen it is June of 1979, and the children, myself among them, traipse across the stage at the Symphony Space Theater on Broadway and Ninety-‐‑Sixth Street for nearly two hours “before an initially indulgent but skeptical audience,” in Lopate’s words.1 (See figure 27 in the gallery of illustrations following p. 210.) In a 1979 essay titled “Chekhov for Children” Lopate writes, “Many who came to support the children in what they assumed would be an impossible undertaking were rather startled to find themselves pulled into the original drama as Chekhov had written it … and I was in a sense the most surprised, knowing from having directed the play how catastrophically it could have gone” (154). Anton Chekhov was thirty-‐‑nine years old when Uncle Vanya was first staged at the turn of the last century in Moscow; Phillip Lopate was thirty-‐‑ seven when he directed the play on the Upper West Side of Manhattan. In 1 Phillip Lopate, “Chekhov for Children,” in Against Joie de Vivre: Personal Essays (New York: Simon & Schuster, 1989), 153. All quotes in the article come either from this essay or from my film “Chekhov for Children” (2010). For more information on the film, see http://www.pieshake.com/Pieshake/Features.html. 350 SASHA WATERS FREYER 2006, when I began work on Chekhov for Children, a feature documentary film about this production and its aftermath, the children of the 1970s who per-‐‑ formed in Lopate’s Vanya were between those two ages. Chekhov for Children is a love letter to the turbulent New York of our childhoods that explores the interplay between art and life for a dozen friends across thirty years. The film draws on the footage of the original performance, plus rare, student-‐‑made Super 8mm films and videos courtesy of the Teachers & Writers Collaborative in New York City, to explore Lopate’s Uncle Vanya in the context of a flourish-‐‑ ing arts program at Public School 75 (figure 28). Weaving together archival film and video images with voice-‐‑over, Lopate’s text, and interviews with the now middle-‐‑aged children, the film both revisits Phillip’s essay and continues the tale he set in motion. “A lot of these kids, they’re never going to become artists. What do you see as the ongoing value of them spending this time and so much attention to drawing?” Teri Mack, a member of the Teachers & Writers team, queries a classroom teacher in a bit of footage, circa 1975, seen in the documentary Chekhov for Children. The image is the creamy black-‐‑and-‐‑white of old Betamax video. The young teacher is Ruth Lacey, today the principal of an alternative public high school in Manhattan. Lacey answers, “The amount of time that they’re spending on drawing and looking is the same approach I would use with any subject matter. I mean they’re so bombarded with visual stimuli that it seems to me that you have to take something out of their environment and make them focus on it so that they...