OZBABYBOOMERS: THEATRE

HOME > THEATRE > THEATRE ARCHIVES 2010 >

Above left: Josh Wakely and Lizzie Schebesta.

Above right: Katherine Cullen.

Al images: Heidrun Lohr.

Lizzie Schebesta.

POSTED: 11 JUNE 2010

The Seagull

Siren Theatre Company | Sidetrack Theatre, Marrickville, Sydney | Until 27 June

It’s easy to miss Sidetrack Theatre, tucked away as it is inside the Addison Road Centre. A corrugated exterior and basic fittings speak of the centre’s former life as an army barracks, and before that a farm.

Don’t be fooled, however, into thinking that the production inside this humble building is in any way basic. Siren Theatre Company’s version of Anton Pavlovich Chekhov’s The Seagull is as fine as some — nameless, of course! — offerings at far more auspicious venues.

The Seagull is a series of snapshots in the lives of a group of people, connected through blood ties, unrequited love and circumstance. Perhaps Chekhov’s best-known work, The Seagull is a funny, tragic and affecting commentary on the, sometimes futile, pursuit of love and happiness. Through two of the central characters, Konstantin (Josh Wakely) and Trigorin (Matt Edgerton), it is also a view into Chekhov’s feelings around writing.

The setting is the summer retreat of Irina Arkadina, played in a wonderfully arch, witty and cutting performance by Zoe Carides. Irina’s son, Konstantin, an aspiring writer, presents a play starring the girl of his dreams, Nina (Lizzie Schebesta). Its unusual and pretentious form causes much hilarity amongst its audience.

Konstantin yearns to explore new forms in writing, frustrated by his inability to fully express himself. Irina’s partner, Trigorin, is a renowned writer frustrated by his inability to detach from writing to fully live. Everything is a story waiting to be written and he constantly scribbles in his notebook.

Nina longs to be an actress, imagining that the fame, glamour and creative freedom of such a career would be the ultimate happiness. She falls for Trigorin, setting in motion a series of tragic events.

This version, reworked by Christopher Hampton, is poignant, powerful and as relevant to the human condition as ever. Kate Gaul’s direction is insightful and allows for the development of even the most minor characters, a characteristic of Chekhov’s work.

Intelligent set design by Andy McDonell literally frames the action. Simple set changes are speedy and very effective.

Of course, even with the brilliant script, design and direction, the final result relies on the performances — and this cast are simply excellent. Schebesta beautifully portrays Nina’s vulnerability and crumbling hope, and Edgerton’s Trigorin is focused and driven.

Wakely plays Konstantin’s passion and dissatisfaction heartbreakingly well. His final scene, the challenging two solid minutes of tearing up his manuscript, is discomfiting and potent.

Although The Seagull is largely tragic, its comedic scenes are well balanced. Robert Alexander’s dry interpretation of the doctor, Dorn, is frequently hilarious — but his moving delivery of the final lines of the play was simply perfect.

A special mention must go to Katharine Cullen’s Masha, whose unrequited passion for Konstantin brings about some of the funniest — and saddest — scenes. It’s never easy to convincingly play drunkenness, but Cullen’s vodka-soaked rant inspired well deserved spontaneous applause. If she hadn’t appeared sober later in the play, I would have been convinced that she spent the interval doing shots to prepare for that scene!

Siren Theatre may not produce many projects each year, but quality definitely wins over quantity. Make your way into Marrickville and catch this Seagull.

CLICK HERE to email Oz Baby Boomers with a comment regarding this play or review.

HOME > THEATRE > THEATRE ARCHIVES 2010 >