Anton Chekhov News

The Provincetown Tennessee Williams Theater Festival is pleased to announce that Jeremy Lawrence will appear as the title character in a one-time performance of The Snagglepuss Chronicles on Sunday, September 30 at 11am in Provincetown.

Hampstead Theatre announces a new version of Anton Chekhov's Uncle Vanya by Terry Johnson and casting for the world premiere of The Hoes.

Cutting Ball Theater kicks off its 2018/2019 Season, celebrating 20 years since the company's founding and first production, with a vivid reimagining of Anton Chekhov's enduring classic UNCLE VANYA in a translation by Paul Schmidt. Uncle Vanya is directed by Paige Rogers, Cutting Ball Theater's co-founder and recently exited Artistic Director, the culminating project of Rogers' tenure at Cutting Ball's creative helm. Uncle Vanya opens in preview performances on September 21 and runs through October 21. Press Opening is scheduled for September 27 at 7pm with an Opening performance to follow on September 28 at 8pm. Tickets range in price $15 - $45 and are available for purchase online at cuttingball.com/productions/uncle-vanya or by phone at 415-525-1205.

Meet Eric. He's an aspiring playwright who's trying to break into TV writing when his Dad interrupts his plans by suddenly getting sick with a terminal illness. Instead of stepping up to his familial duties, Eric runs away from his sadness straight into a 'Wall of Dicks'. Fortunately, there's a hot, imaginary Cockroach who's there to help him to confront his grief and his family's disappointment. Death and Cockroaches, a brand new theatrical experience presented by Chalk Repertory Theatre, opens November 9 for four weeks at Atwater Village Theatre. Written by Chalk Rep Artistic Circle member Eric Reyes Loo and directed by Chalk Rep Founding Member Jennifer Chang, in an innovative, immersive production featuring a full sensory experience.

Central Works 2018 season closes with a tale of madness, alienation and moral responsibility- Chekhov's WARD 6, adapted by Gary Graves opening Saturday Oct 13 running through Nov 11 (previews Oct 11 & 12) at the historic Berkeley City Club.

Looking into the future, you'll find a number of new productions on tap for your entertainment pleasure, thanks to the efforts of theater companies all over Middle Tennessee. Here's our calendar to help you plot your course...

Inspired by a 1970 Federico Fellini film, three aging clowns compete for a job in an absurdly comic look at man's fear of uselessness in society. Odyssey Theatre Ensemble presents the West Coast premiere of Old Clown Wanted by Romanian-French playwright Matei Visniec in a new translation from the French by Jeremy Lawrence. Romanian-born Florinel Fatulescu directs for a Sept. 22 opening, with performances continuing through Nov. 4 at the Odyssey Theatre in West L.A.

Central Works 2018 season closes with a tale of madness, alienation and moral responsibility-  Chekhov's WARD 6, adapted by Gary Graves opening Saturday Oct 13 running through Nov 11 (previews Oct 11 & 12) at the historic Berkeley City Club.

The Provincetown Tennessee Williams Theater Festival is happy to announce that the digital edition of this year's Festival magazine is now available online at twptown.org.

Lorca's masterpiece transported and updated to present day London, but retaining its power to shock as it lays bare the souls of men and women.

Cutting Ball Theater kicks off its 2018/2019 Season, celebrating 20 years since the company's founding and first production, with a vivid reimagining of Anton Chekhov's enduring classic UNCLE VANYA in a translation by Paul Schmidt. Uncle Vanya is directed by Paige Rogers, Cutting Ball Theater's co-founder and recently exited Artistic Director, the culminating project of Rogers' tenure at Cutting Ball's creative helm. Uncle Vanya opens in preview performances on September 21 and runs through October 21. Press Opening is scheduled for September 27 at 7pm with an Opening performance to follow on September 28 at 8pm. Tickets range in price $15 - $45 and are available for purchase online at cuttingball.com/productions/uncle-vanya or by phone at 415-525-1205.

Artistic Director Rupert Goold today announces the Almeida Theatre's new season.

Theater Resources Unlimited (TRU) announces the TRU Producer Boot Camp Essentials of Successful Self-Producing Saturday, October 6, 2018 from 10:30am-3:30pm at Clinton Cameo Studios, 307 W. 43rd Street, NYC. For more details, visit https://truonline.org/events/self-producing-2018/.

The Case Western Reserve University/Cleveland Play House MFA Acting Program is proud to begin their season with a modern reimagining of Anton Chekhov's The Seagull. Chekhov's classic play about artistic rebellion, translated by Paul Schmidt, will star the MFA Class of 2020 and guests. Director Sarah Wansley's staging will shed light on the show's poetic realism. Press opening will be on October 9th at the Helen Theatre in Playhouse Square and the show will run from October 10th-October 20th. 

The Hunter Theater Project at Hunter College (Hunter College President, Jennifer J. Raab) will officially open the New York premiere of Anton Chekhov's UNCLE VANYA, directed by Richard Nelson, on Sunday, September 16 at the Frederick Loewe Theater (E. 68th Street between Lexington and Park Ave). Translated by Richard Nelson, Richard Pevear, and Larissa Volokhonsky, this production marks the first time renowned Russian literature translators Pevear and Volokhonsky have had a work premiere in New York City, following its world premiere at The Old Globe in San Diego earlier this year. UNCLE VANYA began performances on Friday, September 7 and runs through Sunday, October 14.

For the better part of the present decade, playwright/director Richard Nelson has been going seriously Chekhovian, first with a quartet of plays set during the Obama years in the Rhinebeck, New York home of a family named Apple and then with a trio of visits during the 2016 presidential campaign with the nearby Gabriel family.

Pert, engaging, hysterical rift on Chekov and life

The Hunter Theater Project at Hunter College (Hunter College President, Jennifer J. Raab) will officially open the New York premiere of Anton Chekhov's UNCLE VANYA, directed by Richard Nelson, on Sunday, September 16 at the Frederick Loewe Theater (E. 68th Street between Lexington and Park Ave). Translated by Richard Nelson, Richard Pevear, and Larissa Volokhonsky, this production marks the first time renowned Russian literature translators Pevear and Volokhonsky have had a work premiere in New York City, following its world premiere at The Old Globe in San Diego earlier this year. UNCLE VANYA began performances on Friday, September 7 and runs through Sunday, October 14.

American Conservatory Theater (A.C.T.) Conservatory Director Melissa Smith and Young Conservatory Director Jill MacLean announced today the 2018-19 production lineup and schedule for the Master of Fine Arts (M.F.A.) Program and Young Conservatory. Tickets for all performances are available online at www.act-sf.org/csvshows or by calling the A.C.T. Box Office at 415-749-2228.

Fresh off the mammoth production of the musical Titanic, a production that garnered a boatload of much-deserved national press, Serenbe Playhouse is offering up something radically different this month: a modern reimagining of Anton Chekhov's The Seagull, complete with hypnotic Balkan music by talented composer Anais Azul. The ambitious play, under the direction of Elizabeth Dinkova, the adaptor of the work, is worth seeing for the gorgeous site-specific staging at Peek Lake near Serenbe, a setting that a purist's Chekhov would also flourish in, but Dinkova's experimental script tries too hard to make a statement about art's power to blur the boundaries between reality and illusion, relying much too heavily on the intrusive narratorial voice of Constance, a gender-flipped Konstantin from the original work, to frame out its profundity for us. In addition, turning the heavy language of Chekhov into the spare language of today's texters and tweeters is a tricky business, and Dinkova's dialogue often feels clunky and forced. In the end, the production, though visually stunning and mostly well-acted, never quite takes flight.