The Northcott Theatre Company perform the UK premiere of Tennessee Williams’ 'The Notebook of Trigorin,' a free adaptation of Anton Chekhov’s 'The Seagull' to an almost exclusively white and grey haired audience. Why does Chekhov not appeal to the under 55s, or is it that tragedy appeals only to the worldly wise?
Chekhov’s play about human fragility and the impossibility of people relating to each other in an equal and meaningful way is a depressing premise. However, despite the gloomy subject matter there are touches of intentional comedy.
Mme Arkadina, a successful dramatic actress, clings to her youth and glory, and fears the decline of her powers. She is unable to recognize – or she resists – the talents of her son, Constantine; he has youth, vigour and a passion for writing ... and the whole of life ahead of him. He merely reminds her of her age. Liz Crowther plays a sprightly Arkadina although the choreography has her skipping around the stage at times which is incongruous in its girlishness. This lightness does, however, provide a counterbalance to the almost overwhelming intensity of her son, Constantine (Philip Cumbus).
Each character is tragic and unfulfilled. Constantine loves stage-struck Nina (Rhiann Steele) but she adores the successful writer, Trigorin. Trigorin (James Wallace) loves no-one and, here, the writer is portrayed as the heartless villain of the piece who feels little for any character but merely makes notes which he can work up into stories. He has occasional homosexual encounters, toys with Nina’s affection and has a co-dependant relationship with the older woman, Arkadina, despising her yet needing her hold upon him.
Beyond the main characters, Sorin (David Peart), on whose estate the drama is played out, is Arkadina’s older brother. Stuck in the country, he longs for city life and stimulation but remains frustrated and frail in the countryside. Masha is in love with Constantine – although it is unclear why she is attracted to such a dark character – but she settles for an inferior husband, Medvedenko (Charlie Walker-Wise), so it’s unrequited love all round.
Casting against type can be stimulating to a production but, as this one conforms to the costume and furniture of the period, casting a mixed race actress with glorious curly black hair gets in the way of credibility when playing the daughter of a Russian landowner, however delightfully pretty. As this is a Tennessee Williams adaptation it would have been fun to steep the drama in Southern oppressive heat and languor and, getting the actors to perform using deep South accents would have added depth. Performed in standard English, it lacks Russian mystery whilst retaining Chekhovian gloom.
Costuming is perfect and Kit Surrey has designed an enchanting set made of gauzy painted screens which allow changing light to alter mood from moonlight to daytime. Birdsong and soft light creates lakeside serenity in direct contrast to the dissatisfaction of the characters. Most unpleasant is the callous Doctor Dorn (Vincent Brimble) who is brutally honest, cares nothing for anyone and seeks casual liaisons, but who could be the only character satisfied with his life choices.
Chekhov’s play about human fragility and the impossibility of people relating to each other in an equal and meaningful way is a depressing premise. However, despite the gloomy subject matter there are touches of intentional comedy.
Mme Arkadina, a successful dramatic actress, clings to her youth and glory, and fears the decline of her powers. She is unable to recognize – or she resists – the talents of her son, Constantine; he has youth, vigour and a passion for writing ... and the whole of life ahead of him. He merely reminds her of her age. Liz Crowther plays a sprightly Arkadina although the choreography has her skipping around the stage at times which is incongruous in its girlishness. This lightness does, however, provide a counterbalance to the almost overwhelming intensity of her son, Constantine (Philip Cumbus).
Each character is tragic and unfulfilled. Constantine loves stage-struck Nina (Rhiann Steele) but she adores the successful writer, Trigorin. Trigorin (James Wallace) loves no-one and, here, the writer is portrayed as the heartless villain of the piece who feels little for any character but merely makes notes which he can work up into stories. He has occasional homosexual encounters, toys with Nina’s affection and has a co-dependant relationship with the older woman, Arkadina, despising her yet needing her hold upon him.
Beyond the main characters, Sorin (David Peart), on whose estate the drama is played out, is Arkadina’s older brother. Stuck in the country, he longs for city life and stimulation but remains frustrated and frail in the countryside. Masha is in love with Constantine – although it is unclear why she is attracted to such a dark character – but she settles for an inferior husband, Medvedenko (Charlie Walker-Wise), so it’s unrequited love all round.
Casting against type can be stimulating to a production but, as this one conforms to the costume and furniture of the period, casting a mixed race actress with glorious curly black hair gets in the way of credibility when playing the daughter of a Russian landowner, however delightfully pretty. As this is a Tennessee Williams adaptation it would have been fun to steep the drama in Southern oppressive heat and languor and, getting the actors to perform using deep South accents would have added depth. Performed in standard English, it lacks Russian mystery whilst retaining Chekhovian gloom.
Costuming is perfect and Kit Surrey has designed an enchanting set made of gauzy painted screens which allow changing light to alter mood from moonlight to daytime. Birdsong and soft light creates lakeside serenity in direct contrast to the dissatisfaction of the characters. Most unpleasant is the callous Doctor Dorn (Vincent Brimble) who is brutally honest, cares nothing for anyone and seeks casual liaisons, but who could be the only character satisfied with his life choices.
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