Endgame at the Irish Repertory

rendering of Beckett’s play; at the same time, it reminds me of V. I. Nemirovich-Danchenko’s long-running productions of Chekhov’s plays at the Moscow Art Theatre. Along with simi-larities in the production style, one notices the producer’s undoubted love of the playwright and her indispensable respect for the original directions for staging the play. It is, as well, a gorgeous and a highly professional ensemble performance, with Tony Roberts (Hamm), Adam Heller (Clov), Alvin Epstein (Nagg), an