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John Peter, Sunday Times
Review
One of the dozen or so greatest plays ever written by anyone anywhere is being given just about as fine a production as you can reasonably ask for. I would happily send a first-timer to the Arcola to discover what a great playwright Chekhov is, and I can also recommend it to Chekhov veterans for the many fresh colours and lovely touches director Joseph Blatchley and his cast bring. All I have to say is that I have to go back to James Mason and Vanessa Redgrave in the 1968 film to find a version as moving and true as the one here and then to add that just about everything else in the production is on the same high level. --Theatreguide London
Blatchley has created a world of real people tormented by real and devastating decisions. Powerful, poignant and bordering on perfect, this was the most wonderful evening I have ever had in the theatre in a long, long time! --The Good Review --This text refers to an alternate Paperback edition.
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This version (Methuen Student Edition) is accompanied by an interesting, if slightly short, introduction by the translator, and has a useful glossary and history of Chekhov's life. Definitely a good version to buy, especially for someone reading it for the first time.
An abstract play written by Trepliev and performed by his young girlfriend Nina Zarietchnaya fails miserably, and Nina turns her attention instead to the more successful Trigorin. The young Trepliev attempts suicide, then challenges Trigorin to a duel. All his efforts are in vain, and Nina leaves for Moscow to be with her idol. Trigorin, however, soon forgets about her, and her career as an actress is even more miserable than Trepliev's career as a writer. Both youngsters thus face tragic fates as their failed ambition, jealousy, and misguided love and anger carry them to destruction.
This subtle work deals with issues such as unrequited love, jealousy, betrayal and vanity without being overly sentimental. It also addresses the spectacular effect people of charisma or celebrity can have on ordinary people, and suggests that this great power is a dangerous tool in the hands of people who are often hostages of their own reputations.
In Chekov's The Seagull, the brilliant playwright displays his passionate understanding of the desire that wrestles with the human soul. Subtly complex, The Seagull is a play meant to be read many times, and each time readers are bound to meet a different facet of themselves in the play's characters and their quests to satiate that voice within each of them, constantly whispering "you need more, more." It is a voice that leads one aspiring writer in the play to suicide, and cuts off another's capacity to embrace anyone but himself and his own entrapped mind.
Almost every facet of desire is explored here: love, life, death, dreams of glory, success, achievement. And, as with our very best playwrights, Chekov incorporates a masterful metaphor in his Seagull, which tightly wraps the play in a bundle of genius. Like Williams's breathtaking 'Night of The Iguana," and Ibsen's eerie 'The Wild Duck," The Seagull blends tragedy and beauty in an unforgettably delicate union. This is the kind of play that will stick in readers' minds for a lifetime.
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