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This marvelously inventive new play is based on a theme in Chekhov's celebrated 1899 short story, "The Lady with the Lapdog." At an end-of-season resort on the shore of the Baltic Sea, a pair of strangers play the "unacknowledged Yalta game" by "divining others" lives or investing the lives of others with an imagined life." These companions in adventure seek an end to loneliness in the conviction that "disappointments are only the postponement of the complete happiness which has to come." Freil has unraveled a thread of Chekhov's original and woven it afresh into a startling tapestry of longings and resolutions.
THE YALTA GAME. Developed from a theme in Chekhov’s 1899 story “The Lady with the Dog.” Two strangers meet on holiday and almost manage to convince one another that disappointments are “merely the postponement of the complete happiness to come…” (1 man, 1 woman.) THE BEAR. Elena Popova, a young and attractive widow, has immersed herself in the role of mourning for her philandering but now dead husband. Luka, her frail and ancient manservant, tries in vain to snap her out of it. Then Gregory Smirnov barges in… (2 men, 1 woman.) AFTERPLAY. 1920s Moscow, a small, run-down café. Uncle Vanya’s niece, Sonya Serebriakova, now in her forties, is the only customer. Until the arrival of the Three Sisters’ put-upon brother Andrey Prozorov. (1 man, 1 woman.)
Brian Friel explores the most Chekhovian of themes in his three new works inspired by the great Russian dramatist: the absurd realm which lies between perpetual hope and a penchant for self-destruction. Whether exploring the loneliness of an unhappy marriage (in "The Yalta Game," based on Chekhov's story "The Lady with the Lapdog"), or imagining the bittersweet meeting of Sonya (Uncle Vanya's niece) and Andrei (the brother of a certain three sisters) in a new work inspired by characters from two Chekhov plays, Friel shows his own masterful range.
A collection of jokes, riddles, tongue twisters, tricks, games, poems, and stories.
The devastation of the Second World War is coming to an end. As victory for the Grand Alliance draws close, the leaders of Great Britain, the Soviet Union, and the United States gather at Yalta, a resort town on the Black Sea, for the most important summit meeting of the war. Can the great powers finalize their plans for a new world order, or will their often antagonistic ideologies prevent them from forging a lasting peace? Restoring the World immerses students in the Yalta Conference as they take on the roles of Churchill, Roosevelt, Stalin, as well as the members of their military and diplomatic delegations. They all want peace, but what kind of peace will they create?
This third collection by Brian Friel contains two original works: Performances, which considers the relationship between the private life and public work of the composer Leos Janácek; and The Home Place, set in Ballybeg, Donegal, at the dawn of Home Rule. There are three masterful plays based on stories by Chekhov; and Friel's exquisite versions of Three Sisters and Uncle Vanya, of Ibsen's Hedda Gabler and of Turgenev's A Month in the Country. Performances 'A minor work the way Thomas Mann's Death in Venice or Beckett's Endgame is a minor work. Deceptively brisk and light in tone but taut and gravely pregnant with meaning... for Friel, life creates its own symbolism and poetry, and so it does in this play.' Sunday Times The Home Place 'A rich, allusive, densely layered play, which has echoes of Friel's masterly Translations while reminding one that he has spent much of his recent life adapting and translating Chekhov... Friel hauntingly conveys the pathos of exile and the delusion of ownership.' Guardian Hedda Gabler 'Across the gulf of the 20th century one great playwright is talking to another... neither a simple translation nor, as the official title has it, or a 'new version', but something altogether larger.' The Irish Times
"The story of the fascinating and fateful "daughter diplomacy" of Anna Roosevelt, Sarah Churchill, and Kathleen Harriman, three glamorous young women who accompanied their famous fathers to the Yalta Conference with Stalin in the waning days of World War II"--
Imagine you could eavesdrop on a dinner party with three of the most fascinating historical figures of all time. In this landmark book, a gifted Harvard historian puts you in the room with Churchill, Stalin, and Roosevelt as they meet at a climactic turning point in the war to hash out the terms of the peace. The ink wasn't dry when the recriminations began. The conservatives who hated Roosevelt's New Deal accused him of selling out. Was he too sick? Did he give too much in exchange for Stalin's promise to join the war against Japan? Could he have done better in Eastern Europe? Both Left and Right would blame Yalta for beginning the Cold War. Plokhy's conclusions, based on unprecedented archival research, are surprising. He goes against conventional wisdom-cemented during the Cold War- and argues that an ailing Roosevelt did better than we think. Much has been made of FDR's handling of the Depression; here we see him as wartime chief. Yalta is authoritative, original, vividly- written narrative history, and is sure to appeal to fans of Margaret MacMillan's bestseller Paris 1919.
THE STORY: A Man enters a small boutique, hoping to find a suitable gift for his young mistress, who is facing a grave operation. Unaccountably he quickly finds himself confiding in the Proprietress, speaking without hesitation of the pain he feels at having his telephone calls to his loved one unreturned, of his fear that her condition may be fatal. The Proprietress consoles him, suggesting that perhaps she wants to spare him, that she needs to face her ordeal alone and without added burden that his involvement would impose. As they speak specters of other deep-seated concerns arise: the difference in age between the Man and his mistress; his unfulfilling marriage; the emptiness of material success without love to enrich it; the void that might have been filled had there been the possibility of children; the frustration of being unable to make a true and total commitment to another person. It is almost as though the Proprietress might be-or has become-the absent mistress. As the play ends the Man and the Proprietress embrace, two strangers grateful for the small miracle which, if only for a brief moment, has let them share closeness always hoped for but seldom achieved.