Review: SEAGULL at Little Theatre, University Of Adelaide

Reviewed by Barry Lenny, Friday 22nd April 2022.

Independent Theatre has moved away from its usual venue to perform at a number of different places this year. They are beginning by presenting Anton Chekhov's tragi-comedy, Seagull, in the Little Theatre. This is the 2011 translation by Charlotte Pyke, John Kerr, and Joseph Blatchley which includes the parts cut by the Russian censor in 1896. the company's artistic director, Rob Croser, of course, is the director, bringing his many years of knowledge and experience to bear on this production, and providing another of his highly informative programmes.

There are four central protagonists: Konstantin 'Kostya' Gavrilovich Treplev, a young man about to stage his first play for his family and friends, an experimental piece, Irina Nikolayevna Arkadina, his mother, an acclaimed and self-centred, but fading actress, Boris Alexeyevich Trigorin, her successful novelist lover, and Nina Mikhailovna Zarechnaya, a nineteen-year-old neighbour who lives on the opposite side of the lake, in love with Treplev, and longing to be an actress, against the will of her severe father and step-mother.

Konstantin is played by Eddie Sims, giving us an insecure young man, desperate for the approval of his mother, jealous of Trigorin, and wishing to be, like them, accepted into the Russian elite, the ranks of the acknowledged intelligentsia. Sims begins his fine characterisation with Konstantin optimistically presenting his play, then displays a growing combination of frustration, anguish, and despair, foreshadowing his future.

Eloise Quinn-Valentine plays Nina, neatly emphasising the naivety and childlike enthusiasm of her character, developing her idolisation of Trigorin and allowing that to develop into love for him. Both Sims and Quinn-Valentine could have afforded to use more light and shade in their performances which, on opening night, were somewhat on one level Their scene together in the final act, two years later, she having left with Trigorin, lost a baby, been discarded by Trigorin, and returned, and he still unsuccessful, displays a greater depth in their performances indicating a potential for more, once the opening night nerves are overcome.

Rebecca Kemp plays Arkadina, an actress with a capital A, a woman whose approach to life is that everything is only about her, an ultimate attention seeker who cannot permit anybody to take the tiniest fraction of the limelight away from her, not even her own son. She runs roughshod over his efforts, destroying him by keeping him down. Kemp gives a strong performance in the role, larger than life, commanding the stage, and sweeping all before her.

Trigorin is played by Patrick Marlin, who presents a man who seems to have little interest in the world, driven by his writing to the point of it having taken over his life to the exclusion of all else. Marlin brings a finely crafted detachment to the role.

Irina's brother is Pyotr Nikolayevich Sorin, who is also called Petrusha, a retired court official, on whose estate Konstantin's play is to take place, on a makeshift stage near the lake. David Roach leans heavily on his walking stick, often supported by others, displaying Sorin's failing health with clarity, but never overemphasising his ill-health. It is the sort of well-considered performance that we have come to expect from him.

Masha, also called Marya Ilyinichna, or Mashenka, is also in love with Konstantin, but he has no feelings for her, leaving her deeply depressed, dressing in mourning black clothes, and taking comfort in alcohol and snuff. Kate Van Der Horst plumbs the depths of Masha's depression, the black of her clothing reflecting the bleakness of her life without Konstantin's affection.

Yevgeny Sergeyevich Dorn is the local doctor, with an eye for the ladies, especially the unhappily married Polina Andryevna, the wife of Ilya Afanasyevich Shamrayev, and mother of Masha. A very popular opera singer, Adam Goodburn, now changes genres and takes on his first dramatic role as the suave and sophisticated Dr. Dorn. This, hopefully, will lead to more appearances in theatre productions, alongside his work in opera.

Julie Quick plays Polina, adding one more to a long list of successful performances. Quick balances her character's desire for Dr. Dorn with her loyalty to the institution of marriage, whilst accepting his roving eye for other women, in a nuanced performance.

Shamrayev is the overbearing and unyielding manager of Sorin's estate who runs everything his way, even in the defiance of the needs and wishes of the family. Leighton Vogt, for some reason, shouts his way through the play and could afford to take it down a little, adding some variation.

Semyon Semyonovich Medvedenko is a poor schoolteacher, supporting his family since the death of his father, and constantly complaining about his meagre income, almost his only topic of conversation, whom the depressed and alcoholic Masha eventually marries to try to forget her unrequited love for Konstantin. This, of course, does not work, making her even more miserable, and him, likewise. Henry Bleby Williams plays Medvedenko, portraying an insipid young man whose life is going nowhere, and nicely displaying his character's frustration.

Gabe Mangelsdorf and Diana Burrato, as Yakov, a workman, and the Maid, add a little extra colour.

The Little Theatre's 'theatre in the half-round' setup is always a challenge for set designers, and this very effective set, designed by Croser and Roach, has a large panel depicting the lake and another depicting the sky as the background, thanks to scenic artist, Lee Grafton. A couple of large branches and some cane furniture creates the outdoor scene for the first two acts, and a wall of windows brings us indoors for the final two acts. Nic Mollison's lighting transforms it superbly through the different times of day.

The production only runs until Saturday 30th April, and the venue is much smaller than their old one, so book your tickets quickly.

Photography, Jacqui Munn.

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