The Seagull

The Seagull, the first of four major plays written by Chekhov, was first performed in 1896 and revolves around the lives of ten people as they strive for, love, artistic integrity and happiness. It is considered to be one of Chekhov’s comic masterpieces however it tends to highlight the tragedy within life’s struggles. Whilst the first production received less than a positive reaction the Chesil production was received very positively by a most appreciative audience. The director, Deborah Edgington, is to be congratulated on selecting and interpreting the 2012 version of this play by Anya Reiss. Reiss an acclaimed writer of plays in her own right is also a core writer for Eastenders.
The front of house area of this very individual theatre is delightful and there was a warm welcome. The walls are covered with photo collages of previous shows and many Accolades of Excellence from NODA. This intimate theatre has tiered seating giving everyone an unimpaired view. The use of a painted stage cloth which ran into the audience linked the audience into the action from the outset.
The set was constructed with a small stage up left otherwise a herringbone arrangement of flats. Everything was painted a mottled grey colour including the infinity cyc upon which were projected a variety of effects according to the atmosphere and tension of the play. The four acts are either inside or outside. The light and sound designer is to be congratulated on the integration of these aspects into the production enabling the change of scene or mood to be appreciated with just changes in lighting effects and colour. The set dressing was minimalist and made of blocks which again enabled the change of scene to be achieved with the minimum of effort and when it was reset the cast facilitated the moves.
The use of white and shades of black for the costumes was most effective to define the groups of cast. The bare feet were interesting and without the confines of shoes maintained a balance between all members of the cast. The symbolism of bare feet is usually that of innocence or childhood - a perception of freedom from real life. The make-up was not obvious therefore most appropriate.
Each and every character was credible without overacting - all aspects of the play had been well thought through - the director is to be heartily congratulated on bringing out the many facets and temperaments of the superbly cast individual characters. The various styles of movement used enhanced the atmosphere including a mirror style sequence. The pace of the play kept everyone in suspense throughout such that the passing of time was not appreciated. The clashes and struggles of this family were brought out by this fine production.

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