THE SEAGULL

Royal Lyceum Theatre

★★★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.

THE SEAGULL

Royal Lyceum Theatre

Reviewed on 14th October 2025

by Molly Knox

Photography by Mihaela Bodlovic

Previously reviewed at this venue:

THE MOUNTAINTOP | ★★★★ | June 2025

TREASURE ISLAND | ★★★ | November 2024

THE SEAGULL

★★½

“basics like vocal projection, coarse acting and stilted pacing let down its avant-garde aspirations”

In ‘The Seagull’, considered the first of his great works, Anton Chekhov was evidently reacting to his publisher’s advice that he should start to put quality above quantity. In the play, Trigorin (Robert Anthony) is also a prolific and successful writer, who embodies Chekhov’s industrious approach, when he says, ‘Day and night I am held in the grip of one besetting thought, to write, write, write!’ Arkadina (played in Alison Steadman style by Ciara Pounchett) is drawn to Trigorin’s fame, clinging not only to him, but to success, money and to maintaining her own youthful image. She visits her brother, Peter Sorin (Monty Lloyd), withering away on his country estate devoid of any such object of desire, to watch Konstantin (Dominic Debartolo), her son from a previous relationship, who attempts and fails to impress her, along with the rest of the gathering, with his own experimental theatre.

Thus, the themes of celebrity, acceptance, rejection, the yearning for love and affirmation become intertwined, and it’s the aspiring actress Nina, who compares these ineluctable forces to the drift of seagulls toward the lake on the estate. Konstantin, frustrated in love and raging at the complacency of the establishment, then shoots the eponymous seabird, ironically handing Trigorin inspiration for yet another book, the plot for which sounds very similar to the one we are watching.

Chekhov’s style is slow, layered, open to parody and fringe productions are not for the risk averse. Folding the country house vistas of Sorin’s estate into a room above a pub is a grim challenge and a ‘sexual, provocative and mind blowing modern interpretation’ is hardly guaranteed to convey the play’s elusive truths. Still, Theatre Collection’s founder Victor Sobchak was imprisoned for six months by the KGB for staging Jesus Christ Superstar in Russia, so is not unfamiliar with courage, or indeed small spaces. The set is accordingly basic, furnished with whatever is available from whatever period. The dialogue is adapted with familiar English idioms, with Sorin declaring himself ‘knackered’ and Konstantin reacting to Nina with ‘my arse’, but Masha and Medvedenko’s relationship (Sadie Pepperrell and Simon D’Aquino) seems diminished played only as bickering antagonists.

There are audacious ideas that work brilliantly, such as the unrequested blow job which both halts Trigorin’s drift towards Nina and clarifies Arkadina’s ruthless control. But Konstantin’s audacious accent did nothing to advance comprehension. Dominic Debartolo looked fine as the rebel creative, with eyeliner and shapeless black coat, but although his atonal cockney may have been intended to remind us of his father’s suspect roots, its random vowels and stresses meant it did so constantly.

There is a wonderful sense of abandon about Victor Sobchak’s back catalogue, with Theatre Collection being his third Anglo Russian theatre company. This collaboration with fellow Director Chris Diacopolous combines adventure and experience, but basics like vocal projection, coarse acting and stilted pacing let down its avant-garde aspirations. That advice about quality and quantity still holds.

Reviewed by Dominic Gettins

Photography by Victor Schobak

Tag Archives: Chekhov

THE SEAGULL

★★★½

Royal Lyceum Theatre

THE SEAGULL

Royal Lyceum Theatre

★★★½

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