THE SEAGULL. To 14 May.

Tour

THE SEAGULL
by Anton Chekhov in a version by Tom Stoppard

Compass Theatre Tour to 14 May 2005
Runs 2hr 30min One interval
Review: Hazel Brown 22 February 2005 at Lighthouse, Poole

Stoppard's brilliant version brings out both the comedy and tragedy of unrequited love.Tom Stoppard's version of this play brings the world of Chekhov's masterpiece into the modern era, where it deserves to be, away from the any conception that it is part of a staid theatrical tradition. Both he and Chekhov are well served by a good cast who make it tellingly clear that love is the source of both comedy and tragedy.

Unrequited love and love triangles abound on this run-down Russian country estate at the end of the nineteenth century. An air of melancholy suffuses all the characters, from the owner of the estate, retired Sorin, who longs for life in the city, to the unhappy Konstantin, his nephew who longs for recognition as a writer and for his mother's approval.

That mother, the star actress Arkadina, returns to the estate in the company of her lover, the successful writer Trigorin. Konstantin attempts to gain his mother's approval by staging his symbolist play, with a neighbour's daughter Nina, whom he loves, in the main part. It's the start of all going wrong for Konstantin. In face of mockery for his experimental work from a mother bred into old-style theatre, he stops the performance; later he bungles an attempt at suicide.

In the meantime, Nina falls for Trigorin, who is bowled over by her innocent enthusiasm and youth, but is called to heel by Arkadina's calculated use of experienced sexuality. Love, hopeless and unrequited, affects the surrounding characters: Dorn, a doctor, is in thrall to Arkadina's beauty. He's hopelessly loved by Polina, wife of the estate manager. Their daughter Masha holds a torch for Konstantin, but eventually marries the boring school teacher, Medvedenko.

It's what happens after the summer of unsatisfied desire moves into the wider, offstage world of Moscow that turns melancholy to tragedy, as Nina's return, after a 2-year gap, in the final act makes clear.

Jane Gurnett, is superb as the selfish, self-centred Arkadina, impatiently tapping her feet during the play, making a show of motherly concern when dressing the wound on Constantin's head, but harshly refusing to grant him any chance of financial freedom. The part is a gift to an older actress and Gurnett seizes all the opportunities offered, only betraying her uncertainties by nervous hand movements at times of stress. She is well served by all the men in her entourage. However, while both the young lead actors are excellent in their interactions with others, when it comes to the show-down scene towards the end of the play, there is a forced distance between them that minimizes the tragedy.

This is a good revival of an excellent version of the play, well staged with a lovely set that transforms from the garden by the side of the lake to the stuffy interior of the house.

Trigorin: Nicholas Asbury
Sorin: Robert Austin
Polina: Steph Bramwell
Shamraev: Mike Burnside
Yakov: David Covey
Dorn: Paul Greenwood
Arkadina: Jane Gurnett
Konstantin: Ben Hicks
Medvedenko: Michael Onslow
Nina: Emma Stansfield
Masha: Amy Rhiannon Worth

Director: Neil Sissons
Designer: Liam Doona
Lighting: Jason Taylor
Composer: Christopher Madin

2005-03-21 12:19:51