Word: chekhov
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Dates: during 1990-1999
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...senior writer Bruce Nelan, a former Moscow bureau chief who wrote our 1989 Man of the Decade cover story on Gorbachev. Working with him were assistant editor Brigid O'Hara-Forster, whose research about Soviet politics is given added breadth by her abiding interest in the works of Chekhov, and Kevin Fedarko, who has a master's in Russian history and literature. In Washington, Strobe Talbott and David Aikman provided insights gained doing numerous Soviet stories. Since 1969, when he was an intern in the Moscow bureau, Strobe has made nearly 30 trips to the Soviet Union. His story...
...cast of The Three Sisters functioned well as a unit yet established distinctive characters. Rather than being overwhelmed by the playwright, as so many directors of Chekhov seem to be, Cross displays confidence in her own vision. She combines traditional domestic vignettes with innovative staging to communicate a feeling first of warmth and then of alienation...
...were in the audience for Working Title's production of Chekhov's The Three Sisters, consider yourself lucky. The show, a combination of stellar acting, attractively atmospheric tech and thoughtful direction, illustrated the level of sophistication possible in a repertory company...
...director, Heather Cross deftly exploits the comedic as well as the tragic aspects of Chekhov's script. Fyodor Ilich Kulygin (Glenn Kessler) begins each of his scenes by asking for the whereabouts of his wife, Masha (Patricia Goldman). This habit, funny at first, becomes tragic as Kessler is revealed to be a man hopelessly trying to deny the grim reality of his loveless marriage. The alienation of the characters in The Three Sisters becomes so forceful at the production's conclusion precisely because it appears so harmlessly amusing in the play's opening scenes...
...wore special makeup to help. Pryce, a liberal, said he was sympathetic but stubbornly held out to repeat the role, in part because it had been such a stretch to sing musical-comedy numbers after years as one of the West End's foremost interpreters of classics, especially Chekhov. As the Engineer he kowtows and skulks, sneers and connives, yet never lapses into the stereotype of the wily Oriental. This is a man driven to sleaziness by circumstance, a man born to command business but victimized by his race, nationality, time and place. Far from a racist act, Pryce...