Tuesday, July 23rd @ 7:30pm

Chekhov Stories

An evening featuring the works Anton Chekhov | Narrated by Christopher Lydon
Directed by Robert Walsh and Alexis Rappaport

Christopher Lydon is an American media personality and author. He is best known for being the original host of The Connection, produced by WBUR and syndicated to other NPR stations, and for Open Source, a weekly radio program on WBUR. Anton Chekhov (1860-1904) was a Russian playwright and short-story writer, he is considered to be one of the greatest writers of short fiction in history. Some of his most well known works include Three Sisters, The Seagull, and The Cherry Orchard.

Christopher Lydon (Narrator) thinks of himself as the slow-reading child of a big family of Boston Irish autodidacts, and also as a sort of incurable Yale History major. He got his first solid work experience at the Boston Globe, covering Mayor Kevin White’s rescue of Boston politics 50 years ago and then in the Washington bureau of the New York Times covering presidential campaigns in the seasons of Nixon, McGovern, Carter and Reagan. But then he’d tell you he learned almost everything he knows boning up for his public-TV and radio interviews over the last 35 years on WGBH and WBUR. He jumps at the chance to take the stage now and then — with Gloucester Stage in Dylan Thomas’s A Child’s Christmas in Wales, and Truman Capote’s A Christmas Memory.

Kimberly Gaughan is Boston-based theatre artist. She holds an MFA in Acting from the University of South Carolina and a BA in Film, Television and Theatre from the University of Notre Dame. Before arriving in Boston, Kimberly acted with the Notre Dame Shakespeare Festival and the Pacific Performance Project/East. She has also worked professionally as a costume designer and theatre educator. www.kimberlygaughan.com
Nael Nacer* was recently seen as Him in the Israeli Stage’s The Return. Recent Credits include: Small Mouth Sounds (SpeakEasy), Macbeth; Equivocation (Actors’ Shakespeare Project), True WestThe Flick (IRNE Award, Gloucester Stage), Calendar Girls (Greater Boston Stage Company), Constellations (Central Square Theatre), A Doll’s HouseBedroom Farce (IRNE Award); Come Back, Little ShebaAwake and Sing!The Seagull and Our Town (IRNE Award, Huntington Theatre), Mr. Burns, a Post-Electric Play; Intimate Apparel (Elliot Norton Award, Lyric Stage), 45 Plays for 45 Presidents (Merrimack Rep), A Number (New Repertory Theatre), Rhinoceros (Boston Playwrights’ Theatre), and Shear Madness (Charles Playhouse).
Marya Lowry* GSC: Lottie, Lettice & Lovage (IRNE Nomination, Best Supporting Actress), Clara, The New Electric Ballroom (Elliot Norton Award, Best Ensemble), Mom, True West. Boston-area Theatre: A Founding Member of Actors’ Shakespeare Project, over 25 roles including, Mme. Ranevskaya, The Cherry Orchard, title role, Macbeth, Olivia, 12 th Night, Prospero, The Tempest, Brutus, Julius Caesar, Duchess of Malfi, Cymbeline, Hamlet. Also: SpeakEasy Stage, Commonwealth Shakespeare Company, Vineyard Playhouse, Boston Playwrights’ Theatre, Nora Theatre, Musicians of the Old Post Road (Ariadne auf Naxos). National: Shakespeare Theatre of New
Jersey, Riverside Shakespeare Company (NYC), American Repertory Theatre, Barter Theatre, The Gamm Theatre, Lyceum Theatre, San Diego, Merrimack Rep. International: toured Bulgaria with Divi Zheni, performing traditional Bulgarian songs, Luminato Festival, Toronto, Canada and the Roy Hart International Arts Centre, France. Narration for Boston Pops, Handel & Haydn Society and Cantata Singers. Teaching: Ecstatic Voice and Lamentation, Shakespeare and Presentation and Presence workshops span the U.S., France, Italy, Poland, Greece, Cyprus and the UK; Marya joined the faculty at Brandeis University since 1989 and is a mentor to incarcerated women in Massachusetts.
Marianna Bassham has appeared in Yerma (2019), Romeo and Juliet (2019), I Was Most Alive With You (2016), Becoming Cuba (2014), Our Town (2012), and Luck of the Irish (2012) at the Huntington. Off Broadway credits include I Was Most Alive with You(Playwrights Horizons). Locally, Ms. Bassham is a resident acting company member with Actors’ Shakespeare Project. Other regional credits include Commonwealth Shakespeare Company, Underground Railway Theater, SpeakEasy Stage Company, Lyric Stage Company, New Repertory Theatre, Greater Boston Stage Company, and many others. Film and television credits include Moonrise Kingdom, The Makeover, “Olive Kitteridge,” and Hulu’s“Castle Rock.” She has received both Elliot Norton and IRNE awards for her work.
Robert St. Laurence previously appeared in the Huntington’s productions of Sunday in the Park with George (2016)Dead End (2000), and The Steward of Christendom (1999). His regional credits include productions at New Repertory Theatre, Stoneham Theatre, Wheelock Family Theatre, North Shore Music Theatre, and Company One. Mr. St. Laurence received his MFA in acting from Harvard University’s A.R.T./MXAT Institute.

Anton Pavlovich Chekhov (29 January 1860 – 15 July 1904) was a Russian playwright and short-story writer, who is considered to be among the greatest writers of short fiction in history. His career as a playwright produced four classics, and his best short stories are held in high esteem by writers and critics. Along with Henrik Ibsen and August Strindberg, Chekhov is often referred to as one of the three seminal figures in the birth of early modernism in the theatre. Chekhov practiced as a medical doctor throughout most of his literary career: “Medicine is my lawful wife”, he once said, “and literature is my mistress.”

Chekhov renounced the theatre after the reception of The Seagull in 1896, but the play was revived to acclaim in 1898 by Konstantin Stanislavski’s Moscow Art Theatre, which subsequently also produced Chekhov’s Uncle Vanya and premiered his last two plays, Three Sisters and The Cherry Orchard. These four works present a challenge to the acting ensemble as well as to audiences, because in place of conventional action Chekhov offers a “theatre of mood” and a “submerged life in the text”.

Chekhov had at first written stories to earn money, but as his artistic ambition grew, he made formal innovations which have influenced the evolution of the modern short story. He made no apologies for the difficulties this posed to readers, insisting that the role of an artist was to ask questions, not to answer them.