Review: THE SEAGULL, Harold Pinter Theatre
Photo credit: Marc Brenner
A play that stuns the audience, The Seagull, written by Anton Chekhov and newly adapted by Anya Reiss, presents a number of different ideologies about life as we know it. It features a variety of characters, each of them struggling with their aspirations, showing the harsh reality of choosing whether to pursue your dreams or whether to stick to familiarity. Jamie Lloyd’s direction, combined with the script creates a modernised version of Chekhov’s work, so don’t be put off if it’s your first Chekhov experience.
Emilia Clarke shines as Nina, her naivety and yearning for fame overshadowing her logical thoughts. Daniel Monks is fantastic as Konstantin, his lack of movement contrasting his overwhelming emotions. With such scorn and arrogance, Indira Varma is incredible as Arkadina, her diction and enunciation putting up her mask of having it all under control. Then, Tom Rhys Harries is the awkward and antisocial Trigorin who shows his battle with imposter syndrome about his writing, his acting alongside Clarke creates some of the best moments in the play.
The rest of the cast finish the picture of the play. Jason Barnett is the grumpy Shamrayev who clashes with Arkadina regularly due to their differences. Robert Glenister is the lovable Sorin who has a softness for Konstantin and hides his struggles behind humour and alcohol. A performance that stands out is Tina Harris as Polina. Understudies should never be underestimated, because the unrequited love she has for Dorn is incredible to watch onstage because you feel her pain like it’s your own. Another stand out performance is Sophie Wu as Masha, her deadpan expression and monotonous tone throughout brings some of the funniest moments alight onstage. Wu’s lack of emotion is contrasted by Mika Onyx Johnson as Medvedenko who longs to be with Masha, despite her insistence of loving Konstantin.
With a brechtian take on the play, The Seagull has a simple set, with just three wooden walls, a ceiling and a floor, with a stack of green chairs. This is even referenced in the script, acknowledging the play’s self awareness, which it does regularly throughout. The actors are unable to walk on or offstage through wings, instead they enter and exit through the audience, once more reminding the audience that you are indeed watching a play. Furthermore, the actors enter the stage one by one before the play even begins. The set designed by Soutra Gilmour and the lighting design by Jackie Shemesh work so well together, bringing the Chekhov aspect to it.
Throughout the actors remain in the same clothes and are barefoot, implying they are just like us and don’t change often. The bare feet are a reminder that what we’re seeing is staged but it also provides a sense of being grounded, they are aware of their actions and the risks they are taking. With small piano pieces throughout, the music steadily creates a dark atmosphere in Act Two, this is thanks to George Dennis.
Though the entire 2 hour 20 minute play is entertaining and intricate, Act 1 is superb, all of the characters creating these conflicts between them and making the audience laugh on a regular basis, whereas Act 2 has a darker tone. It builds up, leaving the audience waiting for something but the ending seems a little rushed and lacklustre. However, that doesn’t take away from the entire performance as a whole, because you leave the Harold Pinter Theatre thinking about what you have just witnessed.
The Seagull is a play that discusses the difficulty with creativity and the issues of humanity, while entertaining the audience and making you laugh. You get highs and you get lows, it truly is a commentary on the uncertainty of life.
**** Four stars
Reviewed by: Daisy Lee
The Seagull plays at the Harold Pinter Theatre until 10 September, with tickets available here.