Word: chekhovs
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Dates: during 1980-1989
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Since I would never dream of learning the real names of the things which infest my sections, I always give them functional names of my own. Therefore, as I sit in a room listening to The Angry Young Man assail Chekhov's validity as a dramatist, I find myself avoiding the unsettling gaze of Morticia, surveying the impressive dimensions of the Snufalopagus in her sweat suit, and looking wistfully at the pale, frail features of the Pardoner...
What does this self-conscious display have to do with Chekhov's The Seagull? On the whole, not much. The awkward playwright of Chekhov's script and Artistic Director Peter Sellars of the American National Theater in Washington share a bold if at times risible "search for new forms." But within the arcane visual framing, Sellars has mounted an intelligent reading by a cast notably including Colleen Dewhurst. He makes a case that the play is above all about jealousy and offers an electrifying moment near the end, when the words of the play-within-a-play suddenly take...
...with a richly expressive voice, he was less likely to play romantic leads than cool intellectuals or forbidding colonels whose aloof or aristocratic facades fail to conceal the emotions within. On the London stage, he mastered some of the great Shakespearean roles and gave definitive performances in plays by Chekhov and Ibsen. His screen credits include Alfred Hitchcock's The Lady Vanishes (1938), Dead of Night (1945) and The Browning Version (1951). Knighted in 1959, Redgrave struggled to keep working and in 1979 made his last major appearance when, already nearly disabled, he played a wheelchair-bound stroke victim...
...many are there?) should not frighten anyone off. It is one of the New Yorker's earlier works, and Simon, whose own characters have become walking cliches of American situation comedy, gains by the use of Chekov's characters. Each scene in the play is adapted from one of Chekhov's short stories, which means the actors must change character after each scene. This is a big challenge, and the cast, for the most part, meets...
This season's "regular" shows will run for seven weeks, starting with Chekhov's "The Cherry Orchard," which opened last night. The season's offerings include more notable "firsts," such as a weekend of staged readings of original student works and the combination of two shorter plays--Shepard's "Savage Love" and "Touch and Cage Games" by Bradley K. Marshall '85 which address similar themes...