person

Nikolai Nikolayevich Solovtsov

Solovtsov

also: Соловцов

Director/actor at the Korsh Theater whose benefit performance in Dumas's "Kean, or Genius and Dissipation" is reviewed (with qualified praise) in this range.

Reading notes

To A. S. Lazarev, 15 November 1887. Moscow. §6 Solovtsov
Nikolai Nikolayevich Solovtsov, actor and director at the Korsh Theater.
To A. S. Suvorin, 7 October 1888. Moscow. §5 Solovtsov
The actor Nikolai Solovtsov, already established in this corpus (see \S24, where he is "dying to play the lead" in Chekhov's "The Bear," and); reused here as the same identity, not a fresh mention.
To I. L. Leontyev, 2 November 1888. Moscow. §4 Solovtsov played phenomenally, Rybchinskaya was decent and charming
Nikolai Solovtsov, the actor/director at Korsh's Moscow theater, played the male lead (Smirnov) in the first run of "The Bear." Not to be confused with Fyodor Korsh, the theater's manager, named two sections later (\S6) -- see the note there.
To I. L. Leontyev, 7 November 1888. Moscow. §7 that mumbling Solovtsov
Nikolai Solovtsov, the actor/director at Korsh's theater who played the lead in "The Bear"; here teased good-naturedly as "mumbling" while Chekhov proposes to take over casting and cutting duties for "The Sparrow Theater."
To A. S. Suvorin, 7 November 1888. Moscow. §9 At Korsh's the public roars with laughter without stopping, even though Solovtsov and Rybchinskaya act quite without artistry.
Solovtsov and Rybchinskaya, the Korsh company's leads in "The Bear", already established in this corpus. Chekhov's assessment here -- "without artistry" -- is notably more critical than the enthusiastic performance report of (\S4), where the same pairing is praised; flagged as a same-entity crossref tracking Chekhov's shifting opinion of this production over the course of its run.
To I. L. Leontyev, 16–17 November 1888. Moscow. §4 Solovtsov will be at my place
The actor Nikolai Nikolayevich Solovtsov, already established in and as involved in placing Shcheglov's play with Korsh's theater; here about to call on Chekhov in person to discuss it further.
To V. A. Tikhonov, 20 December 1888. Moscow. §3 Solovtsov
Nikolai Nikolayevich Solovtsov, actor/director at the Korsh Theater, who reported to Chekhov that the play will resume as soon as Glama-Meshcherskaya returns.
To I. L. Leontyev, 31 December 1888. Moscow. §4 Solovtsov called on me and sat for about an hour to an hour and a half. We talked about your play.
Nikolai Solovtsov, actor and stage director active in Moscow and provincial theater; here shown taking an interest in staging Shcheglov's play, distinct from the Petersburg "Ivanov" business that follows in \S5-6.
To A. S. Suvorin, 5 January 1889. Moscow. §2 Solovtsov
The actor and later theatre manager Nikolai Nikolayevich Solovtsov, already established in this corpus. He had asked Chekhov for a promotional "puff" (a short notice printed in petit type); Chekhov reports here that he has written one, but pointedly in a way meant to discourage Solovtsov from ever asking again.
To V. A. Tikhonov, 7 March 1889. Moscow. §7 Solovtsov
Nikolai Nikolayevich Solovtsov, director/actor at the Korsh Theater, here reported by Chekhov as leaving or about to leave the company.
To V. N. Davydov, 26 April 1889. Sumy. §4 N. N. Solovtsov
Nikolai Nikolaevich Solovtsov, the actor recurring throughout the corpus in connection with Korsh's Moscow theatre and productions of "The Bear"; reused rather than treated as a fresh mention. By this point his professional circle evidently intersects with Davydov's, though the source gives no further detail connecting the two directly.
To I. L. Leontyev, 18 September 1889. Moscow. §7 Abramova's Solovtsov
Nikolai Solovtsov, an actor/director in Mariya Abramova's troupe, who claims performance rights to "The Bear" on the grounds of having performed it many times.
To A. S. Lazarev, 23 November 1889. Moscow. §4 Solovtsov
N. N. Solovtsov, actor and stage director associated with Moscow theater companies of the period, to whom Chekhov will personally hand the manuscript.
To A. N. Pleshcheyev, 12 December 1889. Moscow. §5 Abramova no longer runs the theater; a partnership is now in charge, headed by Solovtsov, Charsky, and Kiselevsky
By December 1889 management of the former Abramova theater had passed from Abramova herself to a partnership/collective ("товарищество") headed by the actor-director Nikolai Solovtsov, Charsky, and the actor Ivan Kiselevsky -- the same theater and change of management referenced in the later letter to Pleshcheyev of 25 December 1889, where Chekhov again reports on Solovtsov's handling of the theater's repertoire.
To F. A. Kumanin, 8 January 1890. Petersburg. §4 get the whole censored "Wood Demon" from Solovtsov
Nikolai Nikolayevich Solovtsov, actor/director connected with the Moscow production of \emph{The Wood Demon}, holding the censor-approved copy of the play text that Chekhov's brother was asked to retrieve on his behalf.
To M. P. Chekhova, 17 March 1891. Petersburg. §5 Solovtsov
Nikolai Nikolayevich Solovtsov, actor and theatrical figure of the Korsh Theater, named here alongside Salvini as an example of touring or popular performers who draw indiscriminate enthusiasm from student audiences -- the pairing itself is part of Chekhov's irony, since the two are of very different rank.