By John Lyle Belden
Anton Chekhov called his 1895 play, “The Seagull,” a “comedy in four acts” – which makes one wonder about Russians’ sense of humor.
But the play, adapted and directed by Casey Ross and presented by her Catalyst Repertory company – shaved down to two acts (one-two / intermission / three-four) – does have some light moments. Good drama always has its share of humor, and its “comic” elements are further reflected in an almost Shakespearean level of unrequited love among the characters.
The setting is a peaceful rural Russian estate, with its nice house belonging to aging civil servant Pyotr Sorin (Dennis Forkel) and a lake, near which his nephew Konstantin Treplev (Taylor Cox) presents a play he has written, starring his girlfriend, local girl Nina (Ann Marie Elliott).
Treplev sees himself in the shadow of his famous actress mother, Irina Arkadina (Nan Macy), and her popular friends. “I have no discernible talent,” he laments. But to prove himself, he is determined to write a “new form” of theatre, simultaneously rebelling against and surpassing the great Arkadina. Before an audience of locals, family and his mother’s guest, famous writer Boris Trigorn (Thomas Cardwell), the premiere flounders thanks to Treplev’s abstract symbolism – inspiring heckling from Arkadina – and Nina’s amateurish acting.
Later Trigorn flatters Nina, encouraging her dream of becoming a professional actor, and winning her away from Treplev. Meanwhile, beautiful-in-black Masha (Emily Bohn) is in love with Treplev, while poor schoolmaster Medivenko (Bradford Reilly) is in love with Masha. Paulina (Kyrsten Lyster) is in an affair with Yevgeny Dorn (Craig Kemp), a kindly doctor with a song in his heart, but she is married to very unromantic estate caretaker Ilya Shamrayeff (Anthony Nathan).
While good acting is essential to any play, the presentation of these characters is all Chekhov has given us – no wild action or deep mystery. Fortunately, Ross knows some very talented actors.
Cox is great at playing the tortured soul, and he has plenty to work with here. A hundred-twenty years later, even in Russia, Treplev would have medication and perhaps a therapist to aid his issues. In this world, he must wade through on his own with little help from his mother – she brushes off his suicide attempt as a silly phase, afraid to leave the limelight world that is the only place she feels happy. Macy turns on the charm, while showing the depth of her character’s shallowness.
Elliott is brilliant as usual, mastering not only all the subtle facets of Nina, but managing to act “bad” in an entertaining way. Cardwell reveals a man wrestling with the life his genius has given him – “I have no rest from myself” – but still subject to base desires. In one of the play’s most famous scenes, he presents the idea of “destroying” the young woman, saying it directly to her. But blinded by her pursuit of fame, Nina allows it to happen, not realizing until it is too late what she has become.
And a shout out to Nathan for nearly stealing scenes with Shamreyeff’s socially clumsy moments, and for making the death of the title bird more funny than it should be.
So: When you get what you’ve been chasing after – or what you settled for – is it worth it? That would be the thematic question at work here, and while the answers aren’t definitive, they do feel honest to the harsh world we live in, wherever we are in time or on the globe. And when the circumstances permit, we can get in a laugh or two.