Moscow Moscow Moscow Moscow Moscow Moscow
by Halley Feiffer

Moscow Moscow Moscow Moscow Moscow Moscow Cover

Moscow Moscow Moscow Moscow Moscow Moscow Book Cover — Moscow Moscow Moscow Moscow Moscow Moscow Cover

Highlights

Female

Male

Unit Set/Multiple Settings Comedy

Synopsis

THE STORY: Ever since their brother Andrey gambled away the family fortune, Olga, Masha, and Irina have been doomed to the boredom of the Russian countryside.

One day soon, they hope, they’ll return home to Moscow and live the exciting lives they were always meant to have.

When the military comes to town, bringing with them variety, entertainment, and a whole lot of chaos, Moscow feels closer than ever and it seems the sisters’ luck is about to change.

In this contemporary twist on Chekhov’s Three Sisters , one delightfully dysfunctional family navigates the absurdity of class, culture, and love.

Press Reviews

"No one makes dark comedy with the savagery of Halley Feiffer, who writes like a mixologist inventing the perfect cocktail of absinthe, effervescence and artisanally broken glass. Yes, there will be blood if you drink it down, but isn’t it delicious? And aren’t you laughing anyway? In [MOSCOW…] Feiffer reworks Chekhov’s Three Sisters, making sharp and sportive mockery of the original text, even as she hews closely to it."
— The New York Times

"Feiffer grabs Chekhov’s masterwork by the ears and yanks it right up into our faces."
— Time Out New York

"…never have the three Russian sisters been so funny funny funny… Imagine if Carol Burnett had eschewed vintage movies on her old TV series and taken on Chekhov instead. …A breathtaking 95 minutes."
— The Wrap

"…the crafty show feels intimate and familiar. And did we mention fun?"
— Variety

"How much has the heart changed in the past century or so? Hardly at all, according to Halley Feiffer’s antic and sneakily affecting [MOSCOW…]. The play is at once a rude millennial reboot and a fairly faithful adaptation of Chekhov’s Three Sisters. …Irreverence can be a form of homage, and [Feiffer] gets cheeky with Chekhov’s delicate realism, sending up his habits of exposition and repetition, along with his play’s central conceit."
— The New Yorker