Simply find the best possible online shopping New York deals
Shop New York products and compare prices and listings on popular online marketplaces.
Si vous êtes partenaire autorisé, abonné au Monde, ou si vous souhaitez obtenir une autorisation d’accès à ce contenu, merci de contacter : licensing[@]groupelemonde.fr en joignant une copie de cette page d’erreur, incluant votre adresse IP et votre identifiant de requête (RID).
English version
Your traffic has been identified as automated (bot activity).
If you are an authorized partner, a Le Monde subscriber, or if you would like to request permission to access this content, please contact: licensing[@]groupelemonde.fr and include a copy of this error page showing your IP address and request ID (RID).
IP: 212.44.102.47
RID: 818ccad685f847e39581000000000001
Laughter, loss and the fear of a disappearing world, Chekhov’s old question still resonates in Simon Stone’s Korean-language play
Korea Herald correspondent
NEW YORK — “I went to New York. It was an amazing city. A perfect place to live as an alcoholic.”
A burst of laughter rippled through the Wade Thompson Drill Hall.
The line comes from Song Do-young, the heroine of Simon Stone’s Korean-language adaptation of Anton Chekhov’s “The Cherry Orchard,” played by Jeon Do-yeon. Do-young is recalling the 10 years she spent in New York after the death of her son — a detail that, in this version, replaces Chekhov’s Paris.
It was an unusually fitting joke for a play making its North American premiere in New York. A story that began in Seoul had finally arrived in the very city so prominent in its dialogue. And audiences there got the joke.
When Do-young describes New York as a place where people talk openly about sex, “almost like a national sport,” another wave of laughter rises. So does one about the “people all over Manhattan who do nothing but talk about their startups.” Later, references to a Brooklyn loft, the High Line, the Whitney and even the…