Caroline Williams’ adaptation of Chekhov’s The Seagull, Nina focusses on a series of young actresses who are auditioning for the role. The production, one by an auteur Director “Gorin” and his young writer, “Tim” — you catch the allusion. As the auditions continue, the world of the play gets increasingly surreal, and increasingly contentious. The young actresses are molded by Gorin, flirted with by Tim who is infatuated with them, all while we see the various stages of audition and then production.
The script is deft and layered, definitely one that deserves continued attention. This production, too, is exceptionally well directed, the performances exquisite and nuanced, and the design (set, sound, video) creates a space that simultaneously makes you feel as if you’re not watching a play at all, and at the same time is deeply theatrical.
There are some exceptional images - at times literal, yet stunning in their impact. Without revealing plot, the play takes a twist, and then another. . . allowing revenge. Yet somehow as much as I loved the surreal twists, the revenge, I wanted it to go a step further. What follows revenge? This isn’t a critique, but rather, a provocation.