It's a Chekhov-style ensemble play whose 11 onstage characters, whether they know it or not, are all leading lonely, unfulfilled lives.
Not wishing to be bowed down by performing Chekhov, he pays for a silvery quack (David Strathairn) to remove his soul and then, a while later, replace it with that of a poet.
Though they only became lovers two years later, Chekhov's brief postscript marked the start of a five-year relationship that ended in July 1904, when Chekhov died.
She began acting at the West Yorkshire Playhouse in Leeds before making her professional West End debut in a 1985 revival of Anton Chekhov's The Seagull, winning the London Drama Critics' most promising newcomer award for her performance as Nina.
Durang flings all kinds of references into his word processor: Angelina Jolie, Snow White, Maggie Smith, global warming, Norma Desmond, William Penn, "Peter Pan, " the HBO show "Entourage, " Lindsay Lohan, ancient Greek drama, voodoo and, as the title suggests, a big dollop of Anton Chekhov.
Thankfully, for a show that both lampoons and honors Chekhov's themes, it doesn't end with the sadness that usually dominates that revered playwright's work.
The critical journey produces a series of sharp and witty observations about Chekhov's life and work.
In 1998, for instance, Brian Friel wrote an adaptation of "Uncle Vanya" in which Anton Chekhov's quintessentially Russian tale of impoverished aristocrats at bay is translated into a subtly Irish-accented version of English in which "Well, I wish you all the best of luck!"
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