Sweet but Sleepy ëAfterplayí Explores Character With Conversation, but Has No Plot by Lisa Troshinsky The Studio Theatreís innovative Russian Winter season is winding down with an endearing but anti-climactic tale that resembles a bedtime fairytale for Anton Chekhov enthusiasts. Nevertheless, after the intense plots seen in some of the other Russian picks at the Studio Theatre this season, such as in ìIvanovî and ìBlack Milk,î one almost welcomes the simplicity of the U.S. premiere of ìAfterplay.î Weíre all familiar with the play-within-a-play concept. Well, this is a slight variation: a play based on two characters from two different plays by the same author. Donít worry, it sounds more convoluted than it actually is. ìAfterplayî is set 20 years after the curtains closed on Sonya Serebriakova, from Chekhovís ìUncle Vanya,î and Andrey Prozorov, from Chekhovís ìThree Sisters.î It is the early 1920s and Russia has changed dramatically, having undergone a revolution since the time in which ìVanyaî and ìSistersî took place. Sonya and Andrey happen upon each other accidentally in a quaint, yet elegant Moscow tea room. Famous Irish playwright Brian Friel, an old hand at creating new versions of works by Chekhov, offers us another slice-of-life production. This time itís a charming, albeit uneventful, interlude between these two Chekhov characters, as if their existences had extended past their playsí ends. Humorous and heartfelt, it ìgives two of Anton Chekhovís lost souls a second chance: Sonya, Uncle Vanyaís devoted niece, and Andrey, the three sistersí henpecked brother,î explained Friel. Although still sullen about the bitter fruit that life has given them, they find solace in meeting each other, and we witness the shy dance that is their fleeting, bittersweet, platonic courtship. The two start out with nicetiesóboth presenting their respective lives as full of energy and promiseóbut they eventually reveal their darker secrets to each otheróall of the disappointments, failed relationships, and the fear of the future and its accompanying loneliness. To the extent the characters show depth of feeling, brought out by the acting and astute direction by Studioís Artistic Director Joy Zinoman, the play remains interesting. Also intriguing is Frielís parallel between Russiaís state of transitionóharsh and unforgiving, yet hopeful and newóand the charactersí difficult but somewhat optimistic shifts from their Chekhov lives to their now uncharted territory. But at the same time, though the idea of a play after a play (hence the name ìAfterplayî) is novel, it might work better in theory than in practice. The script reads more like a scene or a one-act skit rather than a play. Although their interaction explores character, the play has almost no plot and is all conversation. For about an hour and a half (with no intermission), Sonya and Andrey do nothing other than talk and eat. There is no subplot, no plot twist and no real tension that one typically finds in whatís conventionally defined as drama. Consequently, it drags. The best part of the production is clearly the acting of stage veterans Nancy Robinette as Sonya and Edward Gero as Andrey. Their collective skills in nuanceóa blend of believability and stage campókeep your eyes and minds from wandering despite the scriptís slowness. Another highlight is Debra Boothís dollhouse-like set. Her Russian tea room is detailed and inviting, as are prop master Michelle Elwynís white linen tablecloths, vodka bottles, and period tea urn and stand-alone room heater, to name a few. Outside the exquisitely clean dining room is a glimpse of rundown Moscow, a dark street with scattered leaves and broken scaffolds, exposing another juxtaposition. Are we ultimately glad that Friel gave us the chance to share a few stolen moments in a Chekhov fantasy? For the most part yes, because the playís experimentalism is in keeping with the successful chance that Studio took when deciding to devote an entire season to Russian theater. ìAfterplayî runs through April 17 at the Studio Theatre, 1333 P St., NW. Tickets are $35 to $48. For more information, please call (202) 332-3300 or visit www.studiotheatre.org. Lisa Troshinsky is the theater reviewer for The Washington Diplomat.