Theater Emory Presents Watching Chekhov Watching
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In one of the latest works by Pulitzer Prize-winning David Mamet (American Buffalo, Glengarry Glen Ross), two attorneys are charged with defending a white man accused of raping an African-American woman. In the face of unraveling evidence, the lawyers' own uncomfortable beliefs about race rise to the surface. Director John Dillon tackles Mamet's rat-a-tat language and sharp jabs in this confrontational comedy that skewers modern-day "polite" society. Race premiered on Broadway in 2009 starring James Spader and David Alan Grier. Learn More
Anton Chekhov stared at humanity with a physician’s eye and wrote mesmerizing tales of daily life and the absurd complexities of human impulse. Original adaptations of the master storyteller’s short fiction into theater and film from Michael Evenden, Lisa Paulsen, and film by Nicholos Surbey and Nikoloz Kevkhishvili.
In the Ravine
Based on the short story by Anton Chekhov
Adapted and directed by Michael Evenden
Why write a story as a story, and why write it as a play? Anton Chekhov’s genius was founded on an overlap between these forms. And, in this experiment, we take one of his great, late stories, “In the Ravine,” and pull it apart into various forms of storytelling—into printed text, whispered storytelling, solo and group narration and more. And—at times—we employ theatrical elements (costumes, props, movement, pantomime, acting—both quiet and intense—and theatrical lighting and sound), all to isolate the various strands of this expansive story and see what it’s made of.
Based on the short stories Boys and A Joke by Anton Chekhov
Adapted by Nicholas Surbey
Film directed by Nikoloz Kevkhishvili
Antosha Chekhonte: A Childhood Suite
Based on the short stories Grisha, Children, Home, Joy, and Misery by Anton Chekhov
Adapted and directed by Lisa Paulsen
Welcome to our exploration of Chekhov’s short fiction. The five stories we’ve adapted for “Childhood Suite” are from Chekhov’s early and highly exploratory period, when he was writing as Antosha Chekhonte. Each of the stories gazes at children--sharing glimpses of adulthood in the young children and views childhood within the adults. Because we’re working with his fictional rather than dramatic writing, where much of the dramatic action occurs in thoughts and narration, we’ve chosen to explore various theatrical strategies in our adaptations and staging.