I advise you to give up trying to figure out how everyone fits into assorted productions of Chekhov and just sit back and allow Christopher Durang's Harvard-honed wit and fine sense of camp to creep over you like a parlor game, directed with economy and finesse by the brilliant Nicholas Martin.
During my career I have seen theater companies have a bad season or two and then rebound with good ones. But I don't think I've seen a company go from virtual obsolescence to consistent hit maker. What CSC has done is rather amazing.
It's a Chekhovian truism that if you introduce a gun in the first act, it had better go off before the end of the play. That apparently didn't register with David Ayer, who wrote and directed End of Watch, a competent but unremarkable new cops-on-the-streets tale.
Imagine it again: Not just a few but a majority of those voting in 2008 were enlightened hearts and they made electoral history. But not one of them is onstage in Clybourne Park. How then is this play, as The New York Times' theatre critic claims, "ferociously smart"?
Larry was intellectual, literary, and one of the most brainy artists of his generation, but there was always the feeling in the art world that the more intellectual the artist, the less talented the painter.
I was intrigued by Symmetry Theatre's claim that fewer good roles are written for women, I found myself wondering if people might not be aware of the variety of plays that do indeed have meaty roles for female characters.
President Obama's two ambitions as a young man were to write fiction and to work for social change. The jarring contrast between his inspiring speeches and his compromising politics mirrors these influences.