Review: EUTC's The Seagull

EUTC, The Seagull

Rating: ★ ★ ★ ★.5

In the knowledge that this production of The Seagull has nabbed the title for highest grossing Bedlam play of the season, it’s fair to say that expectations going into this were high; and that they did not disappoint.

It is no small endeavour to take on a Chekhov play. The first of his four major plays, The Seagull is ambitious in theme; set within rural Russia at the turn of the twentieth century, a sprawl of interconnecting characters deal with the fallibility of artistic ambition, the tensions of generational conflict and the pain of unrequited love. While the young writer Konstantin’s relationship to his mother Arkadina, and his young love Nina, sits at the heart of the production, they are revealed as only a fragment of a large, complex web of intergenerational relationships. As each flare of youthful idealism is swiftly tempered by the weary cynicism of those who have lived longer, the drama swells and subsides in careful rhythms. Patience is required from both audience and actor alike. 

The cast rose to the occasion and took Chekhov’s theatrical rhythm into their stride. The staging complimented the play’s ephemeral themes nicely and yet was also simple enough to force the audience to tune into the density of the dialogue. While this meant sitting within the lulls when they came, standout performances from the cast shone through when they needed to.

From his first entrance, Benny Harrison infused the production with energy. The restless physicality he brought to the character of Konstantin was well balanced against a portrayal of emotional and artistic vulnerability. This was beautifully matched by Daisy Casmore’s luminous portrayal of Nina - from the first powerful reverberations of her immaculate singing voice, Casemore was a total powerhouse. 

Daisy Casemore and Benny Harrison, photographed by Isabel Beiboer

Mention must also be given to the impressive comedic timing of Ava Vaccari; beautifully in control of the majority of the play’s biggest laughs, yet equally adept at drawing out the emotion when needed. Her depiction of the monumental Arkadina was impressive and well balanced against Jorren Dykstra’s otherworldly portrayal of Trigorin. There was a genuine sense of comradery on stage emanating from the ensemble; performances complemented rather than competed, creating a cohesive and generous stage dynamic.

While the first half lagged a little in places, the second half was where Harrison and Casemore truly delivered. I was lucky enough to watch the production on its final night, and as the audience slowly filed away from the final curtain, the atmosphere reverberated with appreciation for the raw emotion that had been committed to the play’s climatic end. Harrison and Casemore were a perfect duo, both infused with a vital energy that felt truly authentic.

The production also undeniably found its strength from the meticulous direction of Orly Benn, breathing a characteristic sense of playfulness into the classic play. While never straying too far from the original, Benn’s musical choices lightly nodded to our present moment. The songlike whistles of Joni Mitchell and the familiar melodies of The Bonnie Banks of Loch Lomond took us a little out of the context of nineteenth century Russia and pleasantly reminded us of where we were; a student theatre in the heart of Edinburgh overflowing with talent.