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tists of the late 19th century.
Both plays are of the “loveconquers-all” genre with the antics of the would-be lovers said to resemble “Saturday Night Live” without the intellectual content.
“The Marriage Proposal” is a farce in one act, telling the stoxy of a nervous would-be suitor who comes to propose to a neighbor’s spinster daughter. Usually an exciting and romantic event, petty squabbling over the disputed ownership of an adjoining sliver of land almost derails the attempted proposed.
Mayhem and madness soar in “The Bear,” where Chekhov tells a different story of romantic reality — that of a spirited, virtuous widow who is pressed by an unexpected visitor to pay off the debt of her late husband. He vows to stay in her home until the debt is paid. In the
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