There’s something quite remarkable about the boldness with which Blanche McIntyre has reinterpreted Chekhov’s perennial classic The Seagull for Headlong. Gone is the stuffy country house to be replaced by Laura Hopkins’ expressionistic, open space and the formality of the Russian’s words has been supplanted by John Donnelly’s fresh new version which refocuses the play’s centre away from melodrama to something sharper, funnier, more powerful even. This is an interpretation that genuinely makes the play feel new.
McIntyre introduces notes of meta-theatre to push home the exploration of the nature of art and artists that now sits at the heart of the play – the house lights come up as characters direct their soliloquies straight to the audience, the blank rear wall becomes the page of a notebook complete with significant changing scribbles, the stark simplicity of the set allowing for a deeper intellectual excavation of the issues of art and love and creativity and sex. And it is a compelling mixture, all pushing along the vital narrative and driving these familiar characters to their predestined fates with a fresh new verve. Continue reading “Review: The Seagull, Headlong at Watford Palace”