This story was originally published by ArtsATL.
Anton Chekhov was the first playwright to drastically bend the trajectory of art toward life. His lasting influence — not just on theater but on all the arts and on our everyday understanding — has been profound.
Unfortunately, opportunities to experience his work firsthand in Atlanta are rare. Local theaters have often opted for modern adaptations or Chekhov-inspired works. Productions like “Stupid F---ing Bird” and an abbreviated musical version of “The Seagull” have been staged, along with Christopher Durang’s comedy, “Vanya and Sonia and Masha and Spike.” That’s all well and good, but sometimes you don’t want to hear music that is “blues-inspired” or someone’s contemporary take on the blues. You long to hear the actual blues.
How lucky we are, then, that Chekhov’s first full-length play, “The Seagull,” is getting a fine, full-throttle production at Pullman Yards by Atlanta-based Performance Jam through Sept. 8. Director Vivian Bang has chosen a minimalist approach, which suits the warehouse space, emphasizing an intimate and powerful performance. This production is in capable hands with a strong ensemble cast.
The central story line revolves around a troubled young playwright, Konstantin Treplev (a fittingly morose Brandon Lozano), grappling with his artistic ambitions and his complex relationship with his mother, the renowned actress Irina Arkadina (Femmaeve Macqueen). His romantic interest, Nina Zarechnaya (Erin Collins), seeks her own acting career and becomes entangled with the successful writer Boris Trigorin (Eric Whitten), leading to a love triangle that causes emotional turmoil.
It’s Chekhov, so come prepared for a marathon, not a sprint. The plays are long by contemporary standards: In four acts, we watch the lives of the central — and several peripheral — characters unfold and unwind.
Credit: Photo by Vivian Bang
Credit: Photo by Vivian Bang
Macqueen, the only actor in fiery red, captures the volatility and self-absorption of the main character. However, the emphasis on the character’s vanity overshadows her deeper pathos. Arkadina seems laughable, rather than sympathetically flawed. Things go best in a late scene where Arkadina tends to Konstantin’s wound. Macqueen’s mix of tenderness and disgust, along with the vaguest touch of eroticism, speaks volumes about the characters and their relationship.
Collins stands out as Nina, capturing the transition from innocence to experience with remarkable depth. Her interaction with Whitten’s reawakening Trigorin adds complexity to their dynamic, underscoring the inevitable tragic outcomes.
The production features several intriguing elements, including a shift in setting to a lake house outside Atlanta and live music from cast member Ross Politi. Anthropomorphic wearable objects by artist Emma Chammah add visual interest. Yet the production largely embraces simplicity and minimalism, admirably allowing Chekhov’s work to take center stage.
Chekhov referred to his own plays as “comedies,” likely with a touch of irony. Critics at the time said his plays hardly seemed like plays at all. Like any great work of art, they’re hard to classify; They simply have to be seen. And when the opportunity to see them done well arises, it’s an event not to be missed.
THEATER REVIEW
“The Seagull”
Performance Jam production through Sept. 8 at Pullman Yards. Tickets, $13-$23. 7 p.m. Thursday-Saturday, 5 p.m. Sunday. 225 Rogers St. NE, Atlanta. eventbrite.com
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Andrew Alexander is an Atlanta-based writer.
Credit: ArtsATL
Credit: ArtsATL
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