REVIEW: The Seagull (Goodman Theatre)

| October 30, 2010

          
           

Robert Falls allows this glorious ‘Seagull’ to soar

 

 

Nina (Heather Wood) listens as Trigorin (Cliff Chamberlain) talks about his obsession with writing and the fame that consequently follows as Arkadina (Mary Beth Fisher) looks on.

   
Goodman Theatre presents
   
The Seagull
   
Written by Anton Chekhov 
Directed by
Robert Falls 
Goodman’s Owen Theatre, 170 N. Dearborn
(map)
through November 21  |   tickets: $20-$45  |  more info

Reviewed by Catey Sullivan

With The Seagull, Robert Falls makes a stunning 180-degree swerve from the massive, nearly operatic productions he’s staged over the past few years. If King Lear and Desire Under the Elms were thundering landslides of theatricality, The Seagull is a lone, perfect pebble. Which isn’t to say Falls’ take on Anton Chekhov’s ground-breaking masterpiece lacks the gob-smacking emotional heft of his overtly showier efforts. Far from it. Played by actors in minimal costumes on a bare stage, The Seagull is as thrilling a production as you’re apt to see this season – an example of storytelling at its most powerful. That Falls manages to enthrall without the help of conventional costumes, sets or even lighting design illustrates just how gifted the Goodman’s Artistic Director is.

(clockwise from front center) Konstantin (Stephen Louis Grush) informs Masha (Kelly O’Sullivan), Dr. Dorn (Scott Jaeck), Sorin (Francis Guinan) and Medvendenko (Demetrios Troy) that Nina has returned to town but will not see any of them.Another indication of Falls storytelling prowess: Two hours of The Seagull elapse before the audience is released for an intermission. We’d be the first to cry foul at such a demand. Holding your audience captive for 115 minutes? Not fair. Moreover, since the vast majority of the dialogue within The Seagull seems to deal solely with superficial inanities, such a marathon sit will surely be all but intolerable, yes? In this case, no. Falls and his rockstar cast have captured the emotional truth in Chekhov’s text with a power and a glory that makes the piece fly by. Those first two hours feel like 20 minutes.

The intricate passions of Chekhov’s story are reflected in the sprawling cast, every member of which has their own vibrantly realized emotional life – right down to a cook (Laura T. Fisher) who has but a single line and less than a minute of stage time. When even the ‘bit’ roles are this rich, you know you have an ensemble of extraordinary power.

The action – which is actually mostly dialogue – spans several years and takes place on the country estate of Arkadina (Mary Beth Fisher), a famed, vain actress for whom adulation is an opiate. Much of The Seagull focuses on Arkadina’s tectonic clashes with her angry young son Konstantin (Stephen Louis Grush), a playwright struggling with love and art. The difference between mother and son is akin to the difference between Broadway in Chicago and any number of tiny, Off-Loop theaters. Which is to say: Konstantin, who sees his own art as pure, beautiful and meaningful while dismissing his mother’s shows as pandering tripe.

 

Arkadina (Mary Beth Fisher) expresses her deep passion and need for Trigorin (Cliff Chamberlain) to stay with her. Masha (Kelly O’Sullivan) seeks to numb her feelings and shut out the rest of the world.
Sorin (Francis Guinan) attempts to comfort Konstantin (Stephen Louis Grush) as he grapples with the complexities of his life. Nina (Heather Wood) performs in one of Konstantin’s plays in front of (l to r) Medvendenko (Demetrios Troy), Shamrayev (Steve Pickering), Polina (Janet Ulrich Brooks), Dr. Dorn (Scott Jaeck), Arkadina (Mary Beth Fisher), Trigorin (Cliff Chamberlain), Konstantin (Stephen Louis Grush) and Sorin (Francis Guinan).

Fisher is glorious, mining both comedy and pathos from a character whose depths are often profoundly superficial.  Grush is perfectly cast as a tortured artist who strives for edginess with the rage of a petulant child who is certain that adults are trivial and adult artists are pandering hacks. In their scenes together, the two are incendiary, a mother and son whose see-sawing love/hate relationship will never find an even keel.

Kelly O’Sullivan’s Masha is equally indelible, a black-clad emo/Goth prototype capable of the sort of gasp-inducing cruelty borne of unbearable sorrow and frustration. In capturing the bitter aesthetic of a woman who knows her life is over at 20, O’Sullivan is also laugh-out-loud funny, blurring the line between tragedy and comedy with such finesse that they become impossible to tell apart. As Masha’s husband, Demetrios Troy continues establishing himself as one of the most fascinating young actors around, portraying the put-upon Medvedenko as the personification of disillusionment and impotent fury borne not of hatred but of love.

And as Nina, the radiant, innocent young woman who is as easily destroyed as the titular bird Konstantin slaughters, Heather Wood makes Chekhov’s overarching metaphor a devastating heart-breaker.

   
   
Rating: ★★★★
   
   

Konstantin (Stephen Louis Grush) shows his affection for his mother, Arkadina (Mary Beth Fisher), after a traumatic experience.

 

Creative and Production Team

 


Anton Chekhov
Playwright


Robert Falls
Director

Alla Dekhtyar (Music Consultant)
Todd Rosenthal  (Set Design)
Keith Parham (Lighting Design)
Ana Kuzmanic (Costume Design)
Bea Rashid (Dance/Movement Consultant)
Kimberly Osgood (Production Stage Manager)
Jamie Wolfe (Stage Manager)

Ensemble

     

Will Allan, Servant

Rebecca Buller, Maid

Cliff Chamberlain Trigorin

     

Dieterich Gray, Yakov

Laura T. Fisher, Cook

Mary Beth Fisher Arkadina

     

Francis Guinan, Sorin

Stephen Louis Grush Konstantin

Scott Jaeck, Dorn

     

Kelly O’Sullivan, Masha

Steve Pickering, Shamrayev

Demetrios Troy Medvedenko

     

Janet Ulrich Brooks, Polina

Heather Wood, Nina

 
        
        
        
Medvendenko (Demetrios Troy) professes his love to an unmoved Masha while Dr. Dorn (Scott Jaeck), Arkadina (Mary Beth Fisher), Trigorin (Cliff Chamberlain), Shamrayev (Steve Pickering) and Nina (Heather Wood) look on in the background. (clockwise from left) Trigorin (Cliff Chamberlain), Arkadina (Mary Beth Fisher), Sorin (Francis Guinan), Dr. Dorn (Scott Jaeck), Shamrayev (Steve Pickering), Masha (Kelly O’Sullivan) and Polina (Janet Ulrich Brooks) turn to Konstatnin (Stephen Louis Grush) as he loses his temper. The maid (Rebecca Buller) and Medvendenko (Demetrios Troy) look on.

Note: All production photographs by Liz Lauren

      
       

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Category: 2010 Reviews, Anton Chekhov, Catey Sullivan, Goodman Theatre

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