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Anton Chekhov

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URI stages Chekhov’s head-spinning Seagull

A loves B but marries C because B loves D, who loves E but eventually returns to B. Meanwhile, K, L, and M . . . . It's that sort of plot.  
Writing what he knows
By BILL RODRIGUEZ  |  December 09, 2011
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URI stages Chekhov’s head-spinning Seagull

A loves B but marries C because B loves D, who loves E but eventually returns to B. Meanwhile, K, L, and M . . . . It's that sort of plot.  
Writing what he knows
By BILL RODRIGUEZ  |  December 09, 2011
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Review: 2nd Story's uproarious The Good Doctor

Neil Simon may not be the most subtle of playwrights, too often tempted beyond endurance to go for the gag at the expense of motivation.
When Neil met Anton
By BILL RODRIGUEZ  |  April 01, 2011
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Review: Anton Chekhov's The Duel

Can Chekhov work on the big screen?
Can Chekhov work on the big screen?
By BRETT MICHEL  |  October 15, 2010
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Wine and Chekhov

The cherry nerd orchard  
Failure: A Comic Strip
By KARL STEVENS  |  June 04, 2010
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Review: Cold Souls

What if human souls were as interchangeable as hearts, kidneys, movie concepts, and auto parts? Writer/director Sophie Barthes's feature debut toys with the notion, but instead of breaking new ground, Cold Souls settles for rehashing elements from oth
Paul Giamatti can't heat up Cold Souls
By PETER KEOUGH  |  August 14, 2009


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Review: ASP's The Duchess of Malfi, Nora's The Cherry Orchard

T.S. Eliot famously opined that John Webster saw "the skull beneath the skin."
Dying breeds
By CAROLYN CLAY  |  January 13, 2009
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Touched by grace

This, around November, when New England’s bones start to show — and I realized my heart was beating faster. The story had quickened my pulse.
Andre Dubus’s unending gifts
By NINA MACLAUGHLIN  |  October 01, 2007
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The mind’s eye

Several Trinity Repertory Company actors sit before microphones in a WRNI studio.
Trinity gets dramatic on WRNI
By BILL RODRIGUEZ  |  April 03, 2007
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Why blame Chekhov?

The Eifman Ballet of St. Petersburg have been scavenging Russian literature for 30 years now in search of suitably theatrical subjects.
Eifman’s Seagull, plus [bjm_danse] and Susan Marshall
By MARCIA B. SIEGEL  |  April 02, 2007
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Bird brain

The plays of Anton Chekhov don’t take well to dance.
Boris Eifman’s The Seagull
By JEFFREY GANTZ  |  March 29, 2007


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Terpsichore’s delight

Traveling troupes and local dancemakers spring up around the Boston area this season.
The joys of spring dance
By DEBRA CASH  |  March 13, 2007
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Home fires

There’s not a samovar in sight, and American playwright Richard Nelson has sharpened and pared down the script.
The Cherry Orchard; Brontë; Sailing Down the Amazon and Haiku
By CAROLYN CLAY  |  January 17, 2007
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Rethinking Chekhov

Conventional wisdom and introductory drama classes describe Anton Chekhov’s final masterpiece, The Cherry Orchard , as a prescient statement about his country’s future, written in 1903 as the playwright was dying.
The Huntington steps into The Cherry Orchard
By IRIS FANGER  |  December 28, 2006
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A winter’s tale

Even as the family drama of your holiday comes to a close, there’s no need to don a kerchief and settle in for a long winter’s nap.
The season ahead on area stages
By LIZA WEISSTUCH  |  December 28, 2006
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Full bloom

Anton Chekhov’s Cherry Orchard is about change, and so too is this debut production by Trinity Repertory Company’s new artistic director, Curt Columbus.
Trinity’s extraordinary Cherry Orchard
By BILL RODRIGUEZ  |  September 26, 2006


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Hello, Columbus

Last year was quite the highpoint for Curt Columbus.
Trinity’s new artistic director bows with Chekhov
By BILL RODRIGUEZ  |  September 12, 2006