★★★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.

WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK at the Marylebone Theatre

★★★★

“this drama is pure, clean, rich with luxuries, well-engineered and superbly constructed”

In this visceral dissection of modern Judaism, what greets us first is designer Anna Fleischle’s super chic compact kitchen island: clean lines, cream with marble tops.

Plenty of space also to host that massive elephant in the room. But, in keeping with the metaphor, we’ll ignore that till later.

First, we’re expecting a dinner party, some light bantz, kosher nibbles, and plenty of nostalgia as two former best friends Debbie (Caroline Catz) and Shoshana (Dorothea Myer-Bennett) – both excellent – reunite after an uneasy separation. Both are burdened with regrets and simmering resentments.

Debbie’s husband and reluctant co-host Phil (Joshua Malina) is not happy. Debbie has an equivocal relationship with her Jewishness and he fears orthodox Shoshana will lure his wife away from her liberal life in Florida.

Shoshana and Yerucham (unexpected scene stealer Simon Yadoo) live in straitened circumstances in Jerusalem with eight – count ’em – eight children, working for God and the Jewish state. One couple has everything, the other couple feels superior.

At the beginning, on some point of etiquette, Shoshana says, “Your house, your rules. We don’t judge.”

And so follows two hours of brutal, hilarious, heart-rending judging, which goes both ways and escalates. Boy, does it escalate.

The play is based on Nathan Englander’s 2012 New Yorker article and the title refers to a game of trust – who would you ask to hide you away should the Nazis come?

The ridiculously talented Patrick Marber came in on an adaptation and the production carries many of his hallmarks, notably the humour, which is quippy and clever. Every cast member – especially Aaron Sorkin favourite Malina – has great comic sensibilities and they land the punchlines every time.

You’re never more than five minutes away from a doozy. Referring to his wife’s self-lacerating fascination with Jewish suffering, Phil calls the kitchen “a holocaust-themed food court”.

And so to the elephant. As director Marber and Englander were working on the adaptation, October 7 happened, the Hamas atrocity provoking Israel’s scorched earth reaction.

In response, Marber and Englander set up a couple of well-drilled, well-balanced examinations, the Floridians horrified by the slaughter, the Israelis talking about their right to exist.

It is a necessary addition, but uneasy. Throughout the play, the two couples mine their own – often moving – experiences to make their arguments, so a set piece debate about the rights and wrongs of a Middle East war arrives like a gatecrasher.

To introduce more division, we have Debbie and Phil’s slouchy, cynical son Trevor – a sharp cameo by Gabriel Howell. Something of a stoner and activist, his challenging of convention is so great he breaks the fourth wall to keep us in the loop, at one point urging the foursome to see if they can’t get through the next scene without fighting.

His point is perhaps the most telling. While the secular Jews and the Hasidic couple are taking lumps out of each other, indulging in the vanity of small differences, the world is burning. His generation is doomed while the adults in the room do nothing.

“We pray,” says pompous Yerucham, as a counter punch.

Like the kitchen, this drama is pure, clean, rich with luxuries, well-engineered and superbly constructed. Four heavyweights are on good form and take on a difficult theme with deft and precision. Also, did I mention, very, very funny.

Tag Archives: EJ Boyle

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”

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

THE SEAGULL

THE SEAGULL

🎭 A TOP SHOW IN OCTOBER 2024 🎭

WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK

★★★★

Marylebone Theatre

WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK at the Marylebone Theatre

★★★★

“this drama is pure, clean, rich with luxuries, well-engineered and superbly constructed”