A Chekhov classic reimagined with Scottish wit and charm.
Romance and high art are everything at the centre of Anton Chekhov’s 19th century play ‘The Seagull’. It is a timeless story of a farm by the lake inhabited by a colourful array of writers, actors, and their cohort of friends. A few years back I attempted to watch a recording of a production of the same play, that didn’t quite sell me on the story. On returning, I was hopeful that the lyceum could craft a production that would keep me seated, focused, and interested. This production did exactly that and more.
Brining has shown nothing but prowess in his first endeavour as creative director of the Lyceum. Adapted by Mike Poulton, this play is just as poignant as the original Russian translation but made homely in a cold windy Edinburgh October with a cast full of Scottish actors and a script with small Scottish-ism added in naturally to our cast’s vocabulary. I must praise the set design as well, headed by Colin Richmond and co-designed by Anna Kelsey. The set immediately captivated me. The curtain lifts to marble adorned pillars and walls, with the stage perimeter covered in wheat plants and wildflowers, a wonderful hodgepodge of country and high class. It feels warm, welcoming and wild. In act two the farm life is stripped back, and the golden marble takes centre stage as we are invited inside for the story to continue. It is the sort of set that makes me want to do nothing more than bathe in the stage crafted sunlight. I am excited to see how Brining continues to breathe new life into Edinburgh’s stunning Royal Lyceum Theatre, after this production I have nothing but confidence in his ability.
The entire ensemble cast of this piece deserve their flowers. Each create a dynamic two and a half hours full to the brim with of layers of humour and heartbreak. Caroline Quentin leads the production as the matriarchal, self-perceived incomparable Irina Arkandina, her presence is immediately ornate and commanding, creating the perfectly adorned arrogance expected from the once noble actress. Her snappy humour alongside her uppity attitude creates an atmosphere where you cannot help but laugh along with her, whether it is right to or not. Alongside her, Lorn McDonald (Konstantin) and Harmony Rose-Bremner (Nina) each provide a transformative performance worthy of our attention, subsequently gaining the audiences hearts and then breaking them in a slow, melancholy manner. There is no wailing or sobbing, only a slow sorrow that seeps into every crack of your skin, leaving you ushered out the theatre as if forced to leave behind a piece of yourself.
The Seagull is being performed at the Royal Lyceum Theatre, Edinburgh until Nov 1st, 2025. If you are able, you must witness this small Russian cohort for an evening. I would recommend nothing more.