Thomas Ostermeier’s insightful production balances the comedy with the tragedy with pinpoint precision.
Considering that Thomas Ostermeier isn’t a huge fan of Chekhov (as he admits in n interview in the programme), he does manage to find new depths and levels to The Seagull and does so brilliantly.
Set at a country estate (although Magda Willi’s stylish and simplistic set design gives the impression of it being set in a field – but adds a sense of isolation and loneliness that all the characters feel to some extent), we see a variety of characters interact and confront their insecurities, regrets and unrequited love. At the centre of it all, there is the regal and somewhat emotionally manipulative actress Irina (Cate Blanchett), her lover and famous writer Alexander Trigorin (Tom Burke), Arkadina’s insecure and under-appreciated son Konstantin (Kodi Smit-McPhee) who aspires to be a writer and is resentful of Trigorin, while in love himself with Nina (Emma Corrin), while unaware of the love that Masha (Tanya Reynolds) has for him.
There is a lot to digest here over the course of three hours, but Ostemeier does so with ease, even adding some touches in which the audience feel involved that add a sense of playfulness to proceedings (too good to spoil here) that reminds us that Chekhov considered this a comedy play – which the director really leans into throughout but particularly in the first act as the characters quip at each other.
But it also handles the love triangles that emerge throughout and the consequences sp beautifully that it is hard not to feel emotionally invested in what is happening on the stage – despite the scale and size of the stage it still all feels wonderfully intimate, helped by the subtlety and warmth of Bruno Poet’s lighting design that captures the changing tone and mood perfectly. It does have to be said that sometimes there are one or two too many long pauses that slow down the pace of the show a little bit but that is a minor complaint – Plus could I ask that theatre productions stop relying so much on the use of microphones? in this production it doesn’t add anything to the telling of the story.
This being said, the production does hone in the subject of the value of art – even to the point in which it challenges the audience in the theatre to question their own thoughts on the matter. It is very thought-provoking in this regard. Duncan MacMillan & Ostermeier’s adaptation makes some cheeky jibes at the theatre industry which will go down well with theatregoers.
In addition, this is one of the best put together casts I have seen for a long time. Of course the main draw is Cate Blanchett as Irina Arkadina (I did not have seeing her doing the splits or tap dancing on my theatre bingo card…) who showcases her character’s many different facets with grace and style to showcase no matter what Irina is an actress to the point you question does she even know what is real. She provides so much energy, it is hard not to be drawn to her.
But the rest of the cast are equally sublime to watch. Particular credit to Zachary Hart as Simon who is brilliantly sensitive and highlights the character’s devotion to Masha to heartbreaking effect that he is the character you most feel for, alongside Jason Watkins as Peter Sorin (Irina’s brother) whose reflections on the things he hasn’t done with his life are painful and relatable – but he also gets many of the best comical moments that really lift the show.
Emma Corrin as Nina is wonderfully sensitive and ultimately naive (particularly in regards to her enthralment with Trigorin) – but to see where she ends up is equally heartbreaking. It is a performance that charms and is wonderfully delicate. Tom Burke as Trigorin is equally strong showcasing the character’s many flaws with charm, while Kodi Smit- McPhee (making his stage debut) captures Konstantin’s unpredictable nature perfectly. Tanya Reynolds highlights Masha’s unrequited love for Konstantin delicately – her moment with Paul Bazely’s Dorn discussing what she wants to do with her life is a particularly harrowing and powerful moment. There is much to be enjoyed from the performances of Bazely, Paul Higginson and Priyanga Burford – even if it felt as though they were slightly underused.
Overall, this production of The Seagull is bold, brave and brilliant.
By Emma Clarendon
To find out more information visit: https://theseagullplay.co.uk/
Rating: ❤️❤️❤️❤️❤️