The Seagull, Barbican Theatre Review

Photo by Marc Brenner

Written by Chelsea for Theatre and Tonic

Disclaimer: Gifted tickets in exchange for an honest review

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Chekhov plays are not everyone’s cup of tea, but Thomas Ostermier and Duncan Macmillan’s production of The Seagull might make those who dislike him change their minds.

In this new adaptation of the well-known play, you get a mix of contemporary theatre with the deep-rooted essence of the original text. Konstantin is putting on his new play starring the love of his life, Nina, and has invited his mother, Arkadina, a celebrated over the top actress, who brings her famous writer boyfriend Alexander. As Konstantin tries to push the boundaries of what he thinks theatre can and should be, his mother starts up a fuss and the play hurls into a three hour love war where everyone seems to be chasing the person who doesn’t love them back.

The Seagull was originally called a comedy by Chekhov and Ostermier does a wonderful job of showcasing it in this production. His adaptation makes fun of itself in a new way that makes the audience immediately comfortable and lets them know that this show is for everyone. This is not a play that separates the class’s understanding. Before the play even truly begins the character Simon comes on stage, asks if everyone is ready for some Chekhov and begins to play a song on his guitar. The actors weave in and out of performing for the audience and being true to the other actors in the scene with innovative use of microphones and a runway stage that comes out from the mainstage. Giving the actors a place to really “perform”.

The set design by Magda Willi and the lighting design by Bruno Poet create a perfect backdrop to the chaotic nature of the play. The large crops give way for the characters to hide and play in both humours and ominous ways and the stark white backdrop gives the lighting effects all the room to mimic the emotions through the piece with storms, sunshine and birdsong.

What must be commended the most though, is the cast. This is truly an ensemble piece and it wouldn’t work if one of the actors didn’t fill their role perfectly. From Cate Blanchett’s larger than life Arkadina, to Paul Higgins’s obsessive estate hand Ilya, not one moment is not fully thought through and wonderfully timed. You can feel how much the cast trusts each other and how much they are enjoying putting on this play.

Although the show is over three hours and could have been cut here and there, it is a must-see show for all theatregoers, not just Chekhov fans.

At Barbican Theatre until 5 April 2025

★★★★