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The Seagull |
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Author: Anton Chekhov
Reviewer: Carolyn Albert for Theatre Reviews Limited |
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"The Seagull" is a beautifully-crafted work about the careless destruction of
two young people. Despite that seemingly depressing theme, the play has
frequented the boards as a popular presentation for several reasons:
1. "The Seagull" was written by Anton Chekhov, who wrote many plays including
the masterful "The Cherry Orchard." Authors have periods of increasing and
decreasing popularity, and Chekhov is definitely "In" right now. His "Three
Sisters," which some consider another masterpiece and I consider a bore [As a
friend said about the three whining siblings' indecision: "You want to go to
Moscow? Go, already. If you don't like it, you can always come back,"] can
be seen nearly everywhere.
  
2. The Seagull" has one gem of a role for a leading lady. In fact, we've read
that the reason why this play was revived as a summer selection in the park was
because MERYL STREEP wanted to do it. She plays Arkadina, a successful and
popular actress, a woman who is lively, beautiful, a font of energy and
charm. But she is also demanding and nearly-totally self-absorbed. Although
it's a showy role, Arkadina does not change within the course of the play -
although the climactic moments suggest that she might suffer a dynamic crisis
afterward.
3. The play has juicy ensemble roles that can attract strong supporting
actors. The most demanding part goes to the person who represents the
symbolic namesake of the title, a bird who is killed for no other reason than
it was there when someone felt like killing something - perhaps to
demonstrate to himself that he still had some bit of manly power left. Power
and powerlessness are themes that play out through much of Chekov's works.
The beautiful young ingenue must be almost ethereal in her innocence early in
the play. Later on, she will reappear as a doomed apparition of her former
self - forlorn, abandoned, half-starved, delirious with misguided hope of
recapturing both a career on stage and the older lover who left her.
In this important role, NATALIE PORTMAN was sweet - and pretty good as the
innocent Nina, a spirited girl who dreams of being an actress like Arkadina.
However, in her last scene, when she tells Konstantin, the young man who has
loved her deeply and desperately all along, how she is faring, her voice and
body must be at odds with her perception. Ms. Portman resembled a sad
zombie, but did not convey the edge she had gone over and the abyss she had
fallen into, an abyss so deep that Konstantin abandons all hope of ever being
any part of her life.
Konstantin is Arkadina's son. Like every other man who comes in contact with
Arkadina, he adores her. His need for her love and approval are sad because
she belittles him and his efforts thoughtlessly and cruelly. Konstantin's
behavior is like his name, constant in his devotion, both to her and to Nina.
He remembers only his mother's impulsive and generous acts, like nursing a
sick peasant woman, and forgives her faults. PHILIP SEYMOUR HOFFMAN brings
depths of pain and understanding to this role that complement the wide range
of characterizations he has performed on stage and in film within the last
few years. This strength is even more remarkable in that Mr. Hoffman is not
a pretty-boy. But unlike most of his more handsome colleagues, Mr. Hoffman
is a stunning actor; his performance here clarifies the play more than any
other's.
In a wonderful scene with Ms. Streep, mother and son insult each other,
fighting and then making up like lovers. "Comedian!" he calls her, wounding
her deeply - to the amusement of the audience. "Critic!" she responds,
hurting him and delighting the crowd. "Crybaby!" she adds, finally wounding
him. Konstantin reveals to his mother how he has lost all hope that Nina
will return his love. Of course he has not yet done so, but this important
scene sets up the ending of the play. In a final scene, two years later, we
will see him when he has truly lost all hope.
The cause of all Konstantin's woe is a writer, Trigorin. Here, Chekhov
places blame for Trigorin's carelessness with others' actions, and not with
Trigorin himself. He blames a foolish public that idolizes writers [like
Chekhov himself.] A writer then can be compared to a rock star of today. If
females in his audience throw their panties and hotel room keys, their money,
and even their lives at his celebrity, should he be blamed if now and then he
responds to an offer? Trigorin's character is interesting because, as he
explains, he is just doing what he must, writing, compulsively, without
choice or free will. Therefore, the reaction he elicits is not his
responsibility.
KEVIN KLINE, usually the most ebullient of performers, energetic and
sparkling in a myriad of roles, here immerses himself in Trigorin's
passivity. What is there to love about him? He's physically attractive,
true, but he has the charm and personality of a twig. His passion is for his
art. Idolized not for himself but for the fantasy women have of him, he
accedes to their magnetism. Thus, he is both without blame and without soul.
Kline plays the part with the precision we have come to expect of this great
and versatile actor.
Under the direction of MIKE NICHOLS, Streep makes the most of her moments.
When Arkadina/Streep first realizes that Trigorin/Kline has responded to Nina/Portman's youthful worship of him, she falls on her knees before him -
begging, imploring, climbing upon him - pretending for the sake of his
masculine pride that he has either power or choice. Of course she knows he
has neither, but allows him the illusion, and thus keeps him - with
occasional lapses. The scene is delicious as she conquers and then plays
with him. So sure of him is she that she lingers longer at the country
estate of her ill brother (where the action is set) than she ought to -
giving him time to continue to seduce Nina away from Konstantin. Had she any
concern for her son's welfare, she would've departed with Trigorin more
quickly. Arkadina loves her son - but her selfish need to prove her own
power is primary.
Other ensemble roles were filled by stars of stage, TV, and film, enhancing
the demand for tickets to see so many recognizable "names." Like true
professionals, they accepted their lesser parts and maintained the balance of
the play. The description shows the entangled desires doomed to frustration.
Applause for all: STEPHEN SPINELLA as a schoolteacher who adores Masha
(MARCIA GAY HARDEN.) Harden and Spinella carry their roles well. His role
is a foil for Konstantine. Where he endures his beloved's abuse, Konstantin
cannot. Masha has always pined for Konstantin, but realizes her quest is
hopeless. So she marries the teacher and makes his life even more miserable
than it was without her.
DEBRA MONK is Masha's mother, and she is also part of this La Ronde of
emotions. For years she has been carrying on an affair with the aging, but
still handsome town doctor (LARRY PINE.) Her husband is a loud, officious
boor. Good casting and playing by JOHN GOODMAN as Masha's father, the
manager of the estate where this takes place. There is just a hint that he
too is enraptured by Arkadina - yet he does not always succumb to her
desires.
The estate is owned by Arkadina's much older brother, Sorin (CHRISTOPHER
WALKEN) - whose diction suggests he really comes from the Russian colony on
Brighton Beach, Brooklyn, and not from any of the suburbs of Moscow. Walken
seems to be there more to round out the all-star cast than for any qualities
or depth he brings to the role.
Direction by MIKE NICHOLS keeps much of the action static and downstage;
thus, if one is seated on the far left or far right of the semi-circular
audience, one gets a continuous view of the back of someone's head during an
entire scene. I had a wonderful seat just left of center, but missed many
critical facial reactions. But I did appreciate the very good "version" by
TOM STOPPARD that clarified conflicts and desires more clearly than other
versions I've seen. However, his version was probably based on the
translations of other writers - and they should be credited.
Sound design by ACME SOUND PARTNERS deserves accolades. Every syllable was
clear. Lighting by JENNIFER TIPTON kept focus on speakers. BOB CROWLEY's
always excellent costume and scenic design clarified both character and mood.
Although by the time this appears, the very limited run might be over, one
hint can be carried over to next year. Several of the audience members we
spoke with had gotten tickets without waiting on long lines. They arrived
just a half-hour before showtime on a night when rain had threatened all day
- the kind of weather that kept others away. Luckily, we were not rained out
(a few drops).
Another way to gain access without suffering nearly as much as the characters
in this Russian play is to become a Friend or Partner of the Public Theater.
Call 212/539-8734.
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Produced by the Joseph Papp Public Theater/New York Shakespeare Festival;
Producer: George C. Wolfe; Executive Director: Fran Reiter; Artistic
Producer: Rosemarie Tichler.
CAST: John Goodman, Marcia Gay Harden, Philip Seymour Hoffman, Kevin Kline,
Debra Monk, Larry Pine, Natalie Portman, Stephen Spinella, Meryl Streep,
Christopher Walken, Morena Baccarin, Vitali Baganov, Craig Bockhorn, Mark H.
Dold, Henry Gummer, Thomas Schall, Sharon Scruggs.
Played July 24, 2001 through August 26, 2001 as the second and final
production of the 46th summer season of Shakespeare in Central Park. Free
tickets available day of performance from 1 pm at Delacorte Theater in
Central Park or 1-3 pm at Public Theater, 425 Lafayette Street. For more
information on the current and future season, go to www.publictheater.org
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