Word: chekhovisms
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...last piece in the collection, "Errand," is not a story. When Marilynne Robinson reviewed Where I'm Calling From in The New York Times Book Review, she confessed that she was perplexed. "Errand" is the story of the death of Chekhov. Robinson supposed that Carver was inviting comparison between himself and Chekhov, but if so, she did not see it, much as she admired them both...
...recipient of an Oscar for her role in "The Year of Living Dangerously", Hunt also counts among her credits performances in "The Bostonians" and the motion piction version of Frank Herbert's "Dune", Among her stage credits, Hunt lists "Hamlet" and Chekhov's "The Cherry Orchard...
...almost compulsively funny, no matter how dark the underlying theme. The key difference: Simon has a forgiving, generous spirit toward his characters, while Ayckbourn is increasingly merciless. Audiences pause amid laughter and abruptly realize that the landscape is blasted. Ayckbourn borrowed this technique, if not much else, from Chekhov, and at his best -- as in Season's Greetings, Time and Time Again and Woman in Mind -- uses it just as effectively...
Midway through Chekhov's last play, written as he was dying, a plangent twang is heard by the members and hangers-on of a once grand family on the verge of eviction from its estate. Everybody perceives the sound, which Chekhov likens in the stage directions to a snapping string, but each has his own sense of what it meant. To one, it suggests the call of a heron; to another, an owl; and to a third, a cable breaking in a distant mine shaft. In most productions the moment is a throwaway. In a few it hints...
Phantom of the Opera opens on Broadway to magical expectations -- and meets them. -- Director Peter Brook takes on Chekhov...