Inspired by Anton Chekhov’s The Cherry Orchard and drawing from recordings of Chekhov’s letters and dreams, this interactive online theater experience accesses the operating system behind both Chekhov’s computer and the world in which his characters live, searching for happiness. The cast of chekhovOS /an experimental game/ comprises a cadre of well-known stage, television and film actors, including Tony nominee Jessica Hecht, who performs the iconic role of Ranevskaya, and Mikhail Baryshnikov, who makes a special appearance in the role of Anton Chekhov.
USA, 2021. Arlekin Players Theatre. Conceived and Directed by Igor Golyak.
ONE TIME ONLY!
LIVE PERFORMANCE: Sunday, May 30 at 11:00am ET | 5:00pm CEST
“In other words, chekhovOS made me think. In fact, chekhovOS made most of the audience think, with an immediacy that I have never experienced in my interactions with any other form of art. If chekhovOS were a rock concert, this would have been the rowdiest of crowds, screaming, stomping, and setting the curtains on fire. It was unclear whether the producers of chekhovOS quite expected the outcome they got. By giving the audience access to a voice, they inspired a level of interaction far beyond what they may have planned. By giving the audience the means to discuss the art as it unfolded, the creators of chekhovOS may have very well pioneered a new form of interactive entertainment.” – GamingNexus
FOLLOWED BY ZOOM POST-SHOW TALK-BACKS WITH IGOR GOLYAK AND CAST AND CREATIVE TEAM:
SUNDAY, MAY 30, 12:30pm ET | 6:00pm CEST
LEARN MORE ABOUT THE SHOW AND ACTORS:
chekhovOS /an experimental game/ is made possible with generous support from producing sponsors: ART, ArtsEmerson,Baryshnikov Arts Center,BroadBand Collaborative, Cherry Orchard Festival Foundation, Fooksman Family Foundation, Meghan Coleman, Robin Hanley, ZiphyCare and Aximmetry Technologies Ltd., the official software provider for Arlekin’s Zero Gravity (zero-G) Lab.
This post was written by the author in their personal capacity.The opinions expressed in this article are the author’s own and do not reflect the view of The Theatre Times, their staff or collaborators.