A Doubleheader of Classic Theatre
Two One-Acts by Strindberg and Chekhov Light Up the ATA
A classic play at the American Theatre of Actors is always a must-see. And it’s an even bigger treat when there are two, brought to a life by a great director and cast, as in the case of this perfect pairing of short works by August Strindberg and Anton Chekhov.
The First Warning, which debuted in 1893, is noted as the one pure comedy in Strindberg’s otherwise mostly dark and dramatic catalogue. Viewed in 2026, it feels like a prototype for the modern soap opera, albeit with all the trappings and traditions of the late 19th century.
The setting is a German house where a Swedish couple is vacationing. Dustin Pazar is “The Husband,” and from his very first conversation with “The Wife” (Jean-Marie Stodolski), it’s evident that all is not sunshine and rainbows—and hasn’t been for most of the 15 years they’ve been together. The altercation prompts The Husband to pack his bags and leave for good, but complications stand in his way: the amorous Baroness (Amy Losi), who owns the property, and her daughter Rose (Annie Unger), who makes no attempt to conceal her raging desire for The Husband.
Unger is hilarious as the forceful Rose, comically moaning about her toothache (complete with an old-school bunny-rabbit bandage around her head), crawling into the room to hide behind a chair and watch the proceedings, all while plotting to shamelessly woo the man who’s planning his escape as we speak. Rose also functions as the Warning of the title, shining a light on the pretensions and flaws of the other characters. Losi’s elegant Baroness is wonderfully realized, as is the relationship between Pazar and Stodolski, who make us truly feel we’re witnessing the dying days of a long and contentious partnership.
Chekhov’s farce The Proposal was first performed in 1890. Jonathan Beebe joins the ensemble as the hilariously hypochondriacal Ivan Vassilevitch Lomov, who may or may not own the prized Oxen Meadows property nearby. Dressed so formally it’s absurd, he has come to visit his neighbor, Stepan Stepanovich Chubukov (Pazar, adopting a funny, brand-new persona just seconds after bowing as The Husband), to ask permission to marry Stepan’s daughter, Natalya Stepanovna (Unger).
Stepan is so thrilled by the prospect that he pours two drinks and chugs them both himself. Natalya appears, only to immediately get into an argument with Ivan over which of their families can lay claim to the aforementioned Oxen Meadows. The quarrel grows increasingly heated and hilarious, rising to a fever pitch that triggers Ivan’s imagined maladies. He storms off, but when Natalya learns that he actually intended to propose, she hysterically demands that her father bring him back.
All is well for a moment, until the not-quite couple starts arguing again, this time over which is the better hunting dog: Ivan’s “Guesser” or Natalya’s “Messer.” And now the fight is dialed up to a laugh-out-loud 15, as Chekhov creates the prototype for a really good SNL sketch. The trio of actors handles the escalating farce and tricky dialogue with stunning, has-to-be-seen-to-be-believed aplomb.
Award-winning director Sean Szak Prasso has gifted us with a delightful evening of theatre, bringing these two classics to life with a cast that gels beautifully and clearly relishes the memorable material. For fans of these authors, this is a rewarding experience. And anyone familiar with this director and acting ensemble will take particular joy in watching them triumph in their element.
The First Warning and The Proposal appear together at the American Theatre of Actors through November 1, 2026.
