THE futility of provincial existence is never far from the surface of Three Sisters and the contemporary tones of Cordelia Lynn’s adaptation of Anton Chekhov’s play, written in 1900, make it memorably explicit.

The eponymous Sergeyevna sisters, Olga (Patsy Ferran), Masha (Pearl Chanda) and Irene (Ria Zmitrowicz), dream of moving to the symbol of freedom and hope that is Moscow but with their army office father and their mother dead and their brother married to a “suburban little woman,” they’re trapped in a remote Russian town where they have only soldiers for company.

As Chekhov’s play unfurls, the sisters’ excited hopes give way to the cruel banality of everyday existence, one made more painful by the nostalgia which grips almost every character.

Lynn’s new adaptation adds a contemporary cadence to the language of the play and while profanity in Chekhov won’t be to all tastes, the modern ring to the dialogue creates powerful contemporary resonances, especially around issues of class and gender.

That contemporaneity rings strongly throughout Rebecca Frecknall’s brilliant production, adding complexity to the portrayal of the sisters and their privilege. At times, they’re deeply unpleasant to their servants and we can’t simply romanticise them as figures from Russia’s past.   

In part, this derives from the electrifying and emotionally nuanced performances from Ferran, Chanda and especially Zmitrowicz. These sisters deliver some unpleasant Sloaney sneering, “along with a fair amount of linen,” but there’s also a searing vulnerability.

When Zmitrowicz’s Irina declares: “I’m not crying,” while sobbing uncontrollably, it’s as if  you can actually see any remaining hope dissipating. 

Lois Chimimba as Natatsha and Elliot Levey as Masha’s husband also shine and the tension between comedy and tragedy that Frecknall sets up enhances the pathos of the production.

Both Hildegard Bechtler’s set and Jack Knowles’ lighting are highly atmospheric, with the clever use of standing lamps in act two heightening the sense of a fragmented community.

But though some minor characters and relationships are underplayed — which somewhat dents the impact when the soldiers leave at the end — this remains a striking and affecting production.

Runs until June 1, box office: almeida.co.uk.