First performed 130 years ago, this new production, presented by the Lyceum’s new Artistic Director, offers a traditional interpretation with a strong Scottish twist, although the Russian lady in front of me with her son felt it was “far ruder.” The country setting allows the production to create a notable theatrical space during the play-within-a-play section, where Harmony Rose-Bremner as Nina becomes ‘the soul of the world’. The performance and remarkable set design, illuminated by the moonlight, further amplify the atmosphere while setting the pace in motion, and soon, a plethora of illicit affairs and obsessive human behaviors are made visible.

Caroline Quentin is a revelation as Irina Arkadina, treading the difficult balance between tragedy and comedy with ease. Her costume, movement, and timing are all a joy to watch. A large ego, at the centre of her society, stilts and sacrifices her fragile son Konstantin (Lorn Macdonald), but she manages to remain a compelling and magnetic character largely due to Quentin’s performance. At the same time, her character is one that is immediately recognisable in modern life; that’s the beauty of Chekhov, as the characters become squeezed by life, he holds the microscope ever closer. Veteran Scottish actor John Bett (Gregory’s Girl) as Sorin is excellent as the sympathetic uncle who, while dealing with his own decline and self-pity, tries to reason with Irina over the cruel treatment of her son. The actress and budding writer remain at odds throughout, and during one powerful scene, they completely dismantle each other. Perhaps what is most astonishing is that Irina’s maternal instinct dissolves immediately if her ego is challenged, even after her son’s first suicide attempt. Forbes Mason has fun with the prose and language as Dr Dorn, who is almost like a local celebrity, but while this cultured and well travelled man enjoys the attention, particularly of women, he remains unfulfilled.

Reviewer Richard Purden.

Four Stars

https://lyceum.org.uk/events/the-seagull