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"Sprawling and confused adaptation of a sprawling and confused play...This production feels moribund from the beginning. Frantic attempts at resuscitation by Ms. Blanchett and her valiant leading man, a tireless Richard Roxburgh as a hapless homme fatale, only occasionally succeed in eliciting a pulse...These people want to blow up their world, and in a way they do, most entertainingly. That leaves us with another full hour of tediously sorting through the ashes." Full Review
"Upton and Crowley have the benefit of a stellar company of actors...Blanchett dominates the stage like a hurricane: All people and events revolve around her inescapable pull...Crowley shrewdly directs the play like the comedy it was meant to be, drawing humor from the occasionally cheesy dialogue and awkward silences...Through a fresh set of circumstances, Upton captures the spirit of Chekhov's dark humor much better than a more traditional production." Full Review
"A sparkling production...The spirit of Chekhovian farce shines bright, and the ensemble work of this Aussie company is just grand...Blanchett turns out to be a consummate comic actress, and Roxburgh her perfect foil, allowing the scene to swing from passion to painfully funny pathos...Crowley handles the directing chores with an impressively light touch, keeping this army of characters circling one another like moths obsessively courting their flames without letting them get burned." Full Review
"This crass, seriocomic script lumbers along for three palpable hours, alternately tedious and odious, expecting us to care about its petty, miserable, bed-hopping Russian characters without giving them witty or touching things to say. 'I’m so bored. Bored and disappointed,' moans Anna during her boozy, interminable birthday party. She speaks for all of us...Unless you cut 'Platonov' savagely to the bone or find a novel approach, it’s going to come across as callow, sub-Chekhov stuff." Full Review
"If the politics of this Platonov revamp are apt enough, the drama still founders on the play’s inability to link them convincingly to the nearly farcical social comedy of individuals at loose ends. Partly this is because the production, directed somewhat bumpily by John Crowley, keeps the politics at bay for too long...We do not really understand the stakes until it’s too late, which may be accurate for the characters but undermines the audience." Full Review
"The play and production are more than worthy...Blanchett makes it instantly clear that she is a creature of the stage. She is in full control, even when she is seemingly sitting silently...Australian film and stage star Roxburgh is perfectly marvelous as the Lothario gone to seed. The others are all fine...Director John Crowley keeps the play moving rapidly through its almost three-hour running time. Your attention is unlikely to lag, not with Blanchett, Roxburgh and this group." Full Review
"Blanchett's virtuosic performance is truth and dare at once. The play itself is a more fitfully successful affair...The chemistry between Anna and Mikhail...is combustible enough to blow up the play...When they’re not onstage together, the play has a tendency to slump, a condition that neither Crowley’s sensitive direction nor the excellence of the rest of the cast can ever entirely correct...When this production works best, it feels entirely of the moment and urgently, ripely alive." Full Review
"The double-Oscar-winning star is just one shining jewel in a mostly dazzling show full of farcical humor, heartbreaking pathos, and pointed political observation. Clocking in at three hours, the comedy-drama does have its slow points—the third of four long acts is especially lead-footed. Yet the intense and witty moments more than make up for the snooze-inducing snatches...Though it has its flaws, this 'Present' is a stunning evening of theater." Full Review
"It is difficult to be in thrall of the 13 actors...The characters are of unequal weight and interest, yet we are forced to sort them all out, which takes at least the first half of the play...There are those who are fans of the Oscar winner who will find her performance entertaining enough to obliterate any other concerns, or who have the patience and curiosity to appreciate the production’s complex texture and thought-provoking themes...Then there are the rest of us, who wish it were shorter." Full Review
"Upton's text is thoroughly Chekhovian in the way that heartbreak and farce occupy the same stage; the elegant turns of phrase are his own...John Crowley's direction has a laser-like accuracy for line readings and the bits of business that lay bare each character's agenda, frustrations, and fears, and he is aided by a cast from Sydney Theatre Company who play together superbly; this is currently the most stunning ensemble on a New York stage." Full Review
"A fairly unsatisfactory evening. I say this with caution because, in the case of Blanchett and Roxburgh, you want these scenes to simply never end. Watching them is a transfixing experience. The rest of the cast does not demonstrate the same skills of handling a text. This young Chekhov goes deep with his words and digs specifications out of the very souls of his characters...Had the other actors been up to the task, this would have been an altogether different event." Full Review
"This early (early) work of Chekhov is given a cheeky translation by Upton, tossing in a specific modern setting and a lot of verve...The cast — led by Blanchett in fine form — keys into Upton’s tone and jazzes it up...Director John Crowley keeps things moving apace...Blanchett and Richard Roxburgh have chemistry to burn...It amounts to very little when all is said and done...This is far inferior Chekhov presented with a sense of fun and when you expect so little, that’s quite a relief." Full Review
"A tart tragedy, infused with corrosive humor...What's most surprising about John Crowley's expertly calibrated production is how funny it is, while remaining true to themes of disillusionment, class breakdown and unfulfilled love...Weaving together these characters and their hollow lives in a context that connects them both to Chekhov's Russia and to our own world, Upton, Crowley and this accomplished company have elevated a problematic play into something unexpectedly satisfying." Full Review
"Are you willing to endure three hours of boredom in exchange for some occasional moments of radiance from Cate Blanchett?...An ambitious but ultimately futile adaptation by Upton of Chekhov’s long-winded and muddled first play...As directed by Crowley with a spare visual design, 'The Present' is an uneven, uneventful and aimless mess. It gets off to a poor start with a long opening scene that leaves audience members confused regarding the various character relationships." Full Review
"Despite sharp-edged direction from John Crowley, decent design, and strong acting all the way around, this is a dull void of an evening...Thank goodness for Blanchett...Her plight as rendered is mesmerizing and trenchant, a cry against outdated perceptions of who women are and what they're capable of, and that leaves you with plenty to unpack. Too bad the rest of 'The Present' is better left wrapped." Full Review
"Blanchet and Roxburgh are electrifying, however neither Roxburgh nor the role of Platonov carry the burden of being a male sex symbol...What is worth seeing is Ms. Blanchett...She is utterly transfixing…'The Present' is a true ensemble piece and the cast does well bringing these characters to life. What I found tedious was the script and the direction by John Crowley. The first act seemed like three hours due to the unfocused script." Full Review
"Cate Blanchett’s captivating presence makes 'The Present' a worthwhile three-hour sit. The same goes for her equally commanding co-star Richard Roxburgh in this play inspired by an unwieldy early Anton Chekhov work. That said, without the two mighty bright stars, it’d be a slow-starting, fitfully amusing and longwinded evening...Blanchett is fiery and funny and in her element on stage...More than once Anna wails that she’s bored. When Blanchett’s around, you won’t be." Full Review
"It’s haltingly staged, one foot on the gas pedal, the other on the brake, by John Crowley. That attack may seem at cross purposes, but it’s effective in a diffuse work whose chief attribute is the way it presages the obsessions a barely-20-year-old writer will later refine…The very long set-up climaxes in a party scene that finds Blanchett dirty dancing through the drunken revels…That leaves a lot of messy stuff to tie up in the post-intermission acts, and they’re not as much fun." Full Review
"What we have is a big star vehicle which happens to be made more starry courtesy of a stellar ensemble. Blanchett and Roxburgh are electrifying...To add to the pleasures of 'The Present,' Upton and Director Crowley have brought out Chekhov's intention to have his plays viewed as farces by playing up the humorous aspects of these characters' behavior...A well-paced three hours to be savored for the fine performances and interesting hints of themes to come." Full Review
"Quite the wild ride at certain points. But like any Chekhovian play, it’s also about boredom and frustration in that boredom...This overly long 3-hour play has a tremendous amount of endless chatter...interspersed by a number of startling bangs to wake us up...Usually it comes with a deeper and greater pay-off: the bang here is big but not deep...The two leads are like the host and hostess who hold it all together. Without them, this birthday would be a bore and a mess." Full Review
"Upton's 'The Present' is a mixed blessing. On the one hand, it brings the team of Cate Blanchett and Richard Roxburgh to New York for their Broadway debuts, and reintroduces theatergoers to a fairly unknown play by Anton Chekhov. On the other hand, the updating, which is intended to make the play more accessible, creates its own problems and much of the long evening is heavy going. However, Blanchett and Roxburgh make their own fireworks and each act ends with high drama." Full Review
"It would be possible—and extremely pleasurable—to spend most of the three hours at 'The Present' just watching Cate Blanchett...As mesmerizing as she is, however, it would be a serious mistake to consider 'The Present' a star vehicle...This is dazzling ensemble theater, partnering Blanchett with the sly and thrilling Richard Roxburgh...There isn’t a whiff of gimmickry in director John Crowley’s leisurely, bawdy, poignant production." Full Review
"Cate Blanchett is the attraction. Richard Roxburgh is the revelation...It’s a talented ensemble under John Crowley’s direction, and they make some of the awkward shifts in the plot grind a little less noisily...It’s also obvious why Upton, Frayn, and Hare took up the challenge of the play. Mikhail Platonov is the Blanche du Bois of roles for men...The flaws of this great, sprawling, messy play are not entirely obliterated by the stellar performances and direction." Full Review
"A rather sprawling and sometimes unfocused three-hour piece that teeters between melodrama and farce, 'The Present' ends up as neither first-rate Chekhov, nor I suspect even first-rate Upton. But it contains plenty of touching and hilarious moments, numerous deep-seated truths about human relationships, and some award-worthy acting...John Crowley’s assured direction allows even those actors with brief stage time to make a strong impression." Full Review
"If at times illuminated with an item of bold lingerie or sniping remark, most of the color in director John Crowley’s frenzied, engaging production comes from the party balloons...Blanchett’s diva-like—a woman in increasingly desperate straits, who yet somehow never seems like a desperate woman...Crowley keeps things moving quickly, given the number of connections he’s obliged to juggle. 'The Present' is ultimately more coherent than this season’s earlier Chekhov offering." Full Review
See it if you like Cate Blanchett and Richard Roxburgh, you want to see a modern take on Chekhov.
Don't see it if you would be confused by a Russian story with Australian accents, you need a straightforward plot, you have to be home by bedtime.
See it if a modern interpretation of a Chekhov play (starring Cate Blanchett!!!) you haven't seen before sounds interesting.
Don't see it if you're not into Chekhov. There's still a whole lotta talking about nothing happening here, guys.
See it if I was surprised by this one- I laughed, reflected & noted the interesting themes/writing. Cate is a force. the 2nd act was odd tho.
Don't see it if It's quite long - confusing at times. The second act didn't flow for me.
See it if you enjoy the meandering slow burn of Chekhov sprinkled with Australian humour and acting talents.
Don't see it if you can't abide slow-starting plays and lots of rambling dialogue.
See it if you enjoy Chekhov and at minimum don't mind having to analyse and reflect on the show to fully understand the play, you like intense drama.
Don't see it if you need the shows to be constantly moving or evenly paced. The 1st act is slow with little plot development, and the other acts are uneven.
See it if you like Cate Blanchett, curious about an early rarely done Chekhov, enjoy good ensemble work & Chekhov in a modern setting
Don't see it if updated Chekhov aggravates you, scattered work by a novice before he becames accomplished does not impress you, Blanchett not a big draw
See it if You are a Cate Blanchett fan. You like Chekov.
Don't see it if Way way too long. it was very talky.Boring. Even Cate's character say "I am bored. I am very bored". You want to see you can relate to.
See it if you like seeing something that challenges your mind a bit, an little known production from a classic author in an updated unusual manner.
Don't see it if you object to talky, somewhat irrelevant dialogue although presented in an unconventional manner
See it if you love Chekhov.Acting is all over the top, so that means that the director wanted all the hysteria and no subtlety. Set & costumes are ok.
Don't see it if you want to see Chekov done with restraint. Second act fog scene is ridiculous. Too much hysteria throughout the show.
See it if you enjoy complicated, ensemble dramas, with intertwined relationships. Blanchett & Roxburgh both give excellent performances.
Don't see it if you can't get into complicated stories. The play started slow, but sped up toward the end of the first act & culminated in a dramatic end.
See it if you want to see a group of expert actors in a well-constructed play of historical theatrical significance.
Don't see it if You don't like nearly 3 hour long talky plays that may not have a message that will resonate with you or transport you.
See it if Well Kate and Checkoff make a perfectly fabulous evening of banter and midlife crisis. The cast is sublime and worth ever moment.
Don't see it if If you don't like Checkoff
See it if you are a fan of Cate Blanchett and you will be amazed by her strong abilities to bring out a big range of emotion.
Don't see it if you don't like long dialogue kind of play. And be warned that there is multiply strong use of gun effect in the show.
See it if You enjoy thought-provoking writing and acting. Blanchett is a star! This is truly an ensemble show and all live up to the headlining actors
Don't see it if A tad slow in the beginning, but the pace does pick up!
See it if The two leads give star turns as big as Glenn Close in Sunset. You can't take your eyes off Cate Blanchett.
Don't see it if There is a character who does the worst slo-mo run in the history of theater, and I couldn't stop laughing. Not good in a drama.
See it if You're a fan of Cate Blanchett. You're a fan of Chekhov's plays in various forms. You want to see great actors doing a great piece of work.
Don't see it if You're not into drama and tension. You don't want to see Russian plays. You want a resolved plot, or a linear plot (one part is confusing).
See it if Want to see a great performance by Richard Roxbrough. He steals the show. Interesting take on Chekov. The three hours fly by
Don't see it if Think that Cate Blanchette is the star of the show. Or if you like your comedy ligh