★★★½

“Poulton’s translation teases out the world of comedic opportunities Chekhov’s text offers”

‘The Seagull’ at The Royal Lyceum Edinburgh presents a strong adaptation by Mike Poulton of Chekhov’s acclaimed character-driven drama. Director James Brining delivers a moving and pitiful dive into questions of unrequited love, fulfilment, and fame.

Overall, the acting in this production is really strong and believable. The ensemble have a driven cohesion and complexity to them unfolds as the play progresses- particularly as the last act of the play drives closer to its dramatic conclusion. The supporting cast tie the piece together brilliantly, and are to be commended for their characterisation and emotive presence. Lorn MacDonald is a highly convincing Konstantine; his acting brims with three-dimensional insecurity and need for his mother’s approval and Nina’s love to survive. Harmony Rose-Bremner, playing Nina, also gives a powerhouse performance of depth and unravelling.. Though she is standout in her comedic timing and perfectly narcissistic portrayal of Irina, the boldness of Caroline Quentin’s direction overshadows more serious moments of the play. It feels at times that older female characters, like Irina and Polina, are directed for laughs at the cost of their complexity as characters.

Poulton’s translation, for the most part, seamlessly mediates the original text to a modern Scottish audience. Poulton peppers the text with Scots words like “havering” and “bairn” in steady moderation and does not fall into the trap of overdoing translation into local vocab, yet administers the sleek charm of Scottish words where it is natural and intriguing. The decision to not modernise the setting shows trust in the audience to do the work in deciphering meaning, but the subtle modernising of sentiments and words makes for a clear and accessible performance. There are a few instances where translated language sticks out a bit like a sore thumb – with words like ‘flop’ conveying the sentiment of the original, but coming across perhaps too colloquial for the tone of the piece. However, Poulton’s translation teases out the world of comedic opportunities Chekhov’s text offers, and allows its actors to soar with quick witted timing and ironic commentary on the wider world and the imperfect characters they interact with.

The play’s sound design, unfortunately, stays too in the background to really establish itself in the performance, and musical transitions (though pitch perfect!) lack punch and purpose. Across the length of the play, it is hard not to feel hungry for bolder direction which showcases the multidisciplinary talent of the actors more thoroughly, particularly as there are hints of actor-muso talent dotted throughout.

Above all else, the visual design is deeply impressive. This production of ‘The Seagull’ is shaped by a beautifully cohesive set (by Colin Richmond and Anna Kelsey) and costuming (by Madeleine Boyd) design that brings the pity, power, and envy of Chekhovov’s complex characters to life. Muted tones are punctuated by bright contrasts that allow character’s juxtapositions with one another to burst from the stage. Beautiful set pieces like Constantine’s beautifully tragic mock-theatre, and a stunning dinner table giving nods to rural Scottish estates move seamlessly into new points in time, and make for gorgeous transitions where lighting subtly mesmerises the audience. Lizzie Powell’s lighting haunts the piece with gloom and softness which also creates meaningful contrasts in time, people, and place.

Overflowing with heart, charisma, and unflinching acting performances, this production is a slick showcase of talent.

STILETTO

Charing Cross Theatre

★★★★

“a luscious musical that intrigues and teases with, rather than pulls, our heartstring”

The first thing you notice about the new musical, “Stiletto”, is the opulence of Ceci Calf’s set. Dimly lit in the pre-show, it depicts not so much a Venetian palazzo but something more subterranean. You almost expect ripples of light, cast from the canal waters, to dapple from above. It is moody, portentous and atmospheric. The musical itself follows suit. Consistently soul-stirring, grandiose and lush, it looks and sounds exceptional. A balcony circles the stage behind its proscenium arch, like a minstrel’s gallery. In the shadows we can make out the silhouettes of the fifteen-piece orchestra. A cast of seventeen grace the stage, yet Chris Baldock’s musical staging never makes it appear crowded. From the opening dramatic bars of music, we know we are in for something grand. There is a danger that the show might take itself too seriously. A feeling, however, which soon dissipates under David Gilmore’s pacey and fresh direction.

We are in Venice in the early part of the eighteenth century. Marco Borroni (Jack Chambers) is on the cusp of stardom. He is a ‘castrato’, which means he was castrated before puberty to preserve his soprano voice. Apparently, the process not only keeps the vocals skills intact, but it also in no way diminishes his pleasure-giving prowess – as his siren-like patron, the Contessa Azurra (Kelly Hampson), seductively points out. Meanwhile Marco meets feisty Gioia (Jewelle Hutchinson), a slave’s daughter, in the market square. His lust is turned into sheer wonder when he hears her sing, and he vows to sweep her up from the gutter into his own impending rise to fame and fortune. Of course, there are snags. In this case an accidental death, an ensuing scapegoat bound for the hangman’s noose (i.e. Gioia – that’s no spoiler by the way), a corrupt judicial system, and the predictable battle between good and bad – the underdog and the powerful. Tim Luscombe’s book follows a formulaic narrative, but there is a quirkiness and modernism to the dialogue, much of which swings effortlessly in time to the musical preludes.

The plot may be a touch thin, but Matthew Wilder’s score is as ripe and succulent as they come. Wilder generously gives each major character a solo moment in the spotlight, but he also allows the full ensemble to shine throughout. This could almost be a sung-through musical and often has that feel – the underscore subtly echoing the songs. Simon Nathan’s orchestrations highlight the variations; from a quiet harp-accompanied ballad through to the full pageantry of sweeping ensemble numbers. There are many musical highlights and just as many performance highlights. Chambers, as Marco, has a natural flair, mixing innocence with passion, carnality with self-righteousness. And a voice to match – particularly when standing alone, closing the first act with a gorgeously delivered ‘The Wanting’, or lamenting the tragic figure of his tutor Faustino (a rich-toned Greg Barnett). Jennie Jacobs stands in as a masked mezzo soprano whenever Marco is called upon to demonstrate the ‘castrato’ voice. Kelly Hampson’s Contessa Azurra is a force to be reckoned with, standing up to her corrupt yet camp husband, Pietro (a wonderful Douglas Hansell). Hampson’s solo number, ‘Amore Mio’ has a bond-theme quality, but with more interesting time signatures and shifts in tone.

There are surprises, too. When Connor Wood, as the mute Niccolo, finds his voice at a crucial moment in the story we are quite taken aback by his singing voice during ‘No Words’; and Sam Barrett’s down-trodden Luigi blossoms as he turns saviour and vocal raconteur extraordinaire with his solo number ‘Go Along’. But the one to watch out for is Jewelle Hutchinson, stealing the show whenever she walks on stage as Gioia. Spirited and ballsy (ironic given her paramour’s deficiency in that department), Hutchinson lets Gioia’s vulnerability cut through as well. And all the while her rich, wide-ranged vocals pierce our hearts.

The performances bring a heightened energy to the stage that befits the setting and the storyline. Cementing the sense of period are Anna Kelsey’s glorious and flamboyant costumes. Passion is the key word for this show. And drama. Sometimes melodrama slips in which, if you’re not paying attention, can hide the flaws in the narrative. It does feel as though a trick or two is missed, and certain themes are underexplored while the finale comes a little too quickly and too forced. That frustration aside, this is a luscious musical that intrigues and teases with, rather than pulls, our heartstrings. Full of light and shade, musically as well as visually, it might not penetrate quite as deeply or cleanly as a stiletto, but it certainly gets under your skin.

THE SEAGULL

Royal Lyceum Theatre

★★★½

“Poulton’s translation teases out the world of comedic opportunities Chekhov’s text offers”

THE SEAGULL

Royal Lyceum Theatre

Reviewed on 14th October 2025

by Molly Knox

Photography by Mihaela Bodlovic

Previously reviewed at this venue:

THE SEAGULL

THE SEAGULL

THE SEAGULL

STILETTO

Charing Cross Theatre

★★★★

“a luscious musical that intrigues and teases with, rather than pulls, our heartstring”

STILETTO

Charing Cross Theatre

Reviewed on 31st March 2025

by Jonathan Evans

Photography by Johan Persson

Previously reviewed at this venue:

STILETTO

STILETTO

STILETTO

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