Word: chekhov
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Dates: during 1970-1979
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...typical Hollywood starlet may think that August Strindberg is a hot new agent, but Streep played Miss Julie at Vassar. Beginning her professional stage career in New York only four years ago, she conquered prized roles in Shakespeare (Measure for Measure, Henry V, The Taming of the Shrew), Chekhov (The Cherry Orchard) and Brecht-Weill (Happy End), as well as in works by Arthur Miller and Tennessee Williams. This repertory training came to Meryl because she was ready for it; her education went on in public, but critics and audiences did the learning. Director Arvin Brown expresses what threatens...
...paragraph. She can effortlessly keep three levels of memory working in a seamless narrative. But in the end the stories are simply there-haunting, enigmatic, printed with images as sharp and durable as the edge of a new coin, relentlessly specific. "God protect us from generalizations," said Chekhov, the writer whose work Gallant's most resembles. "There are a great many opinions in this world, and a good half of them are professed by people who have never been in trouble...
There are a trifle too many Chekhovian tableaux artily arranged by Director Tony Giordano - these are distinctly not those "sisters" - but Ladyhouse Blues is the sort of play Chekhov might have liked...
...play, he calls Heartbreak House "cultured, leisured Europe before the war." Elsewhere he dodges the issue of what it all means: "How should I know? I am only the author." Shaw subtitled the play "A Fantasia in the Russian Manner on English Themes" as homage to Anton Chekhov, whose Three Sisters appeared earlier this semester at the Loeb. The imprint of Chekhov's style is apparent in Shaw's reliance on dialogue, rather than physical action or plot development, to express characterization and the atmosphere of pre-war England. But while the Loeb production evoked a dismal and saturnine mood...
...other aspects of Heartbreak House suggests why the play has been subjected to numerous interpretations since its first performance in 1920. Shaw's final act is especially ambiguous and leaves the audience pondering whether the playwright entertained hopes for the establishment of a new social order or whether, like Chekhov, he foresaw only a grim continuation of existing institutions...