The Seagull

This article is about the play by Anton Chekhov. For other uses, seeSeagull (disambiguation).

The Seagull
Maly Theatreproduction in 2008
Written by	Anton Chekhov
Date premiered	17 October 1896
Place premiered	Alexandrinsky Theatre,St. Petersburg,Russia
Original language	Russian
Genre	Comedy
Setting	Sorin's country estate

The Seagull(Russian:Ча́йка,romanized:Cháyka) is a play by Russian dramatistAnton Chekhov,written in1895and first produced in1896.The Seagullis generally considered to be the first of his four major plays. It dramatizes the romantic and artistic conflicts between four characters: the famousmiddlebrowstory writer Boris Trigorin, the ingenue Nina, the fading actress Irina Arkadina, and her son thesymbolistplaywright Konstantin Treplev.

Like Chekhov's other full-length plays,The Seagullrelies upon anensemble castof diverse, fully-developed characters. In contrast to themelodramaof mainstream19th-century theatre,lurid actions (such as Konstantin's suicide attempts) are not shown onstage. Characters tend to speak insubtextrather than directly.The character Trigorin is considered one of Chekhov's greatest male roles.

The opening night of the first production was a famous failure.Vera Komissarzhevskaya,playing Nina, was so intimidated by the hostility of the audience that she lost her voice.Chekhov left the audience and spent the last two acts behind the scenes. When supporters wrote to him that the production later became a success, he assumed that they were merely trying to be kind.WhenKonstantin Stanislavski,the seminal Russiantheatre practitionerof the time, directed it in 1898 for hisMoscow Art Theatre,the play was a triumph.Stanislavski's productionbecame "one of the greatest events in the history of Russian theatre and one of the greatest new developments in thehistory of world drama".

Stanislavski's direction causedThe Seagullto be perceived as a tragedy through overzealousness with the concept of subtext, whereas Chekhov intended it to be a comedy.

Writing

Guest cottage atMelikhovowhere Chekhov wroteThe Seagull

Chekhov purchased theMelikhovofarm in 1892 and ordered a lodge built in the middle of a cherry orchard. The lodge had three rooms, one containing a bed and another a writing table. Chekhov eventually moved in, and in a letter written in October 1895 he wrote:

I am writing a play which I shall probably not finish before the end of November. I am writing it not without pleasure, though I swear fearfully at the conventions of the stage. It's a comedy, there are three women's parts, six men's, four acts, landscapes (view over a lake); a great deal of conversation about literature, little action, and tons of love.

Thus he acknowledged a departure from traditional dramatic action. This departure became a hallmark of Chekhovian theater. Chekhov's statement also reflects his view of the play as a comedy, a view he maintained towards all his plays. After the play's disastrous opening night, his friendAleksey Suvorinchided him for being "womanish" and accused him of being in "a funk." Chekhov vigorously denied this, stating:

Why this libel? After the performance, I had supper at Romanov's. On my word of honor. Then I went to bed, slept soundly, and the next day, went home without uttering a sound of complaint. If I had been in a funk I should have run from editor to editor and actor to actor, should have nervously entreated them to be considerate, should nervously have inserted useless corrections, and should have spent two or three weeks in Petersburg fussing over mySeagull,in excitement, in a cold perspiration, in lamentation... I acted as coldly and reasonably as a man who has made an offer, received a refusal, and has nothing left but to go. Yes, my vanity was stung, but you know it was not a bolt from the blue; I was expecting a failure and was prepared for it, as I warned you with perfect sincerity beforehand.

And a month later:

I thought that if I had written and put on the stage a play so obviously brimming over with monstrous defects, I had lost all instinct and that, therefore, my machinery must have gone wrong for good.

The eventual success of the play, both in the remainder of its first run and in the subsequent staging by theMoscow Art TheatreunderStanislavski,encouraged Chekhov to remain a playwright and led to the overwhelming success of his next endeavor,Uncle Vanya,and indeed to the rest of his dramatic work.

Title

The English title for the playThe Seagullis a potentially misleading translation of the title from its original Russian. Although the words "gull" and "seagull" are often used interchangeably in English, the text of the play makes no mention of the sea and is set on an estate somewhere in the inland regions of central Russia orUkraine.The titular gull in question was likely meant by Chekhov to be ablack-headed gullorcommon gull.A more exact translation of the title would thus beThe Gull,as the word "seagull" could erroneously evoke maritime connotations when no such imagery was intended by the playwright.

Characters

Chekhov readsThe Seagullwith theMoscow Art Theatrecompany. Chekhov reads (centre), on Chekhov's right,Konstantin Stanislavskiis seated, and next to him,Olga Knipper.Stanislavski's wife, Maria Lilina, is seated to Chekhov's left. On the far right side of the photograph,Vsevolod Meyerholdis seated.Vladimir Nemirovich-Danchenkostands in the far left side of the photograph.

• Irina Nikolayevna Arkadina– an actress, married surname Trepleva
• Konstantin Gavrilovich Treplev– Irina's son, a young man
• Pyotr Nikolayevich Sorin– Irina's brother, owner of the country estate
• Nina Mikhailovna Zarechnaya– a young woman, the daughter of a rich landowner
• Ilya Afanasyevich Shamrayev– a retired lieutenant and the manager of Sorin's estate
• Polina Andreyevna– Shamrayev's wife
• Masha– Polina's daughter
• Boris Alexeyevich Trigorin– anovelist
• Yevgeny Sergeyevich Dorn– a doctor
• Semyon Semyonovich Medvedenko– a teacher in love with Masha.
• Yakov– a workman
• Cook
• Maid

Plot

Act I

Pyotr Sorin is a retired senior civil servant in failing health at his country estate. His sister, actress Irina Arkadina, arrives at the estate for a brief vacation with her lover, the writer Boris Trigorin. Pyotr and his guests gather at an outdoor stage to see an unconventional play that Irina's son, Konstantin Treplev, has written and directed. Theplay-within-a-playfeatures Nina Zarechnaya, a young woman who lives on a neighboring estate, as the "soul of the world" in a time far in the future. The play is Konstantin's latest attempt at creating anew theatrical form.It is a densesymbolistwork. Irina laughs at the play, finding it ridiculous and incomprehensible; the performance ends prematurely after audience interruption and Konstantin storms off in humiliation. Irina does not seem concerned about her son, who has not found his way in the world. Although others ridicule Konstantin's drama, the physician Yevgeny Dorn praises him.

Act I also sets up the play's variousromantic triangles.The schoolteacher Semyon Medvedenko loves Masha, the daughter of the estate's steward Ilya Shamrayev and his wife Polina Andryevna. However, Masha is in love with Konstantin, who is in love with Nina, but Nina falls for Trigorin. Polina is in an affair with Yevgeny. When Masha tells Yevgeny about her longing for Konstantin, Yevgeny helplessly blames the lake for making everybody feel romantic.

Act II

A few days later, in the afternoon, characters are outside the estate. Arkadina, after reminiscing about happier times, engages in a heated argument with the house steward Shamrayev and decides to leave. Nina lingers behind after the group leaves, and Konstantin arrives to give her agullthat he has shot. Nina is confused and horrified at the gift. Konstantin sees Trigorin approaching and leaves in a jealous fit.

Nina asks Trigorin to tell her about the writer's life; he replies that it is not an easy one. Nina says that she knows the life of an actress is not easy either, but she wants more than anything to be one. Trigorin sees the gull that Konstantin has shot and muses on how he could use it as a subject for a short story: "The plot for the short story: a young girl lives all her life on the shore of a lake. She loves the lake, like a gull, and she's happy and free, like a gull. But a man arrives by chance, and when he sees her, he destroys her, out of sheer boredom. Like this gull." Arkadina calls for Trigorin, and he leaves as she tells him that she has changed her mind – they will be leaving immediately. Nina lingers behind, enthralled with Trigorin's celebrity and modesty, and gushes, "My dream!"

Act III

Inside the estate, Arkadina and Trigorin have decided to depart. Between acts, Konstantin attempted suicide by shooting himself in the head, but the bullet only grazed hisskull.He spends the majority of Act III with his scalp heavily bandaged.

Nina finds Trigorin eating breakfast and presents him with a medallion that proclaims her devotion to him, using a line from one of Trigorin's own books: "If you ever need my life, come and take it." She retreats after begging for one last chance to see Trigorin before he leaves. Arkadina appears, followed by Sorin, whose health has continued to deteriorate. Trigorin leaves to continue packing. After a brief argument between Arkadina and Sorin, Sorin collapses in grief. He is helped by Medvedenko. Konstantin enters and asks his mother to change his bandage. As she is doing this, Konstantin disparages Trigorin, eliciting another argument. When Trigorin reenters, Konstantin leaves in tears.

Trigorin asks Arkadina if they can stay at the estate. She flatters and cajoles him until he agrees to return with her to Moscow. After she has left the room, Nina comes to say her final goodbye to Trigorin and to inform him that she is running away to become an actress against her parents' wishes. They kiss passionately and make plans to meet again in Moscow.

Act IV

It is winter two years later, in thedrawing roomthat has been converted to Konstantin's study. Masha finally accepts Medvedenko's marriage proposal, and they have a child together, though Masha still nurses an unrequited love for Konstantin. Various characters discuss what has happened in the two years that have passed: Nina and Trigorin lived together in Moscow for a time until he abandoned her and went back to Arkadina. Nina gave birth to Trigorin's baby, but it died in a short time. Nina never achieved any real success as an actress, and she is currently on a tour of the provinces with a small theatre group. Konstantin has had some short stories published, but he is increasingly depressed. Sorin's health is still failing, and the people at the estate havetelegraphedfor Arkadina to come for his final days.

Most of the play's characters go to the drawing room to play a game ofbingo.Konstantin does not join them, instead working on a manuscript at his desk. After the group leaves to eat dinner, Konstantin hears someone at the back door. He is surprised to find Nina, whom he invites inside. Nina tells Konstantin about her life over the last two years. Konstantin says that he followed Nina. She starts to compare herself to the gull that Konstantin killed in Act II, then rejects that and says "I am an actress." She tells him that she was forced to tour with a second-rate theatre company after the death of the child she had with Trigorin, but she seems to have a newfound confidence. Konstantin pleads with her to stay, but she is in such disarray that his pleading means nothing. She embraces Konstantin and leaves. Despondent, Konstantin spends two minutes silently tearing up his manuscripts before leaving the study.

The group reenters and returns to the bingo game. There is a sudden gunshot from off-stage, and Dorn goes to investigate. He returns and takes Trigorin aside. Dorn tells Trigorin to somehow get Arkadina away, for Konstantin has just shot himself.

Performance history

Premiere in St. Petersburg

The first night ofThe Seagullon 17 October1896at theAlexandrinsky Theatrein Petersburg was a disaster, booed by the audience. The hostile audience intimidatedVera Komissarzhevskayaso severely that she lost her voice. Some considered her the best actor in Russia who, according to Chekhov, had moved people to tears as Nina in rehearsal.The next day, Chekhov, who had taken refuge backstage for the last two acts, announced toSuvorinthat he was finished with writing plays.When supporters assured him that later performances were more successful, Chekhov assumed they were just being kind.The Seagullimpressed the playwright and friend of ChekhovVladimir Nemirovich-Danchenko,however, who said Chekhov should have won theGriboyedovprize that year forThe Seagullinstead of himself.

Studio portrait ofStanislavskias Trigorin from the 1898Moscow Art Theatre production

Moscow Art Theatre production

Further information:Moscow Art Theatre production ofThe Seagull

Nemirovich overcame Chekhov's refusal to allow the play to appear in Moscow and convincedStanislavskito direct the play for their innovative and newly foundedMoscow Art Theatrein 1898.Stanislavski prepared a detailed directorial score, which indicated when the actors should "wipe away dribble, blow their noses, smack their lips, wipe away sweat, or clean their teeth and nails with matchsticks", as well as organising a tight control of the overallmise en scène.This approach was intended to facilitate the unified expression of the inner action that Stanislavski perceived to be hidden beneath the surface of the play in itssubtext.Stanislavski's directorial score was published in 1938.

Stanislavski played Trigorin, whileVsevolod Meyerhold,the future director andpractitioner(whom Stanislavski on his death-bed declared to be "my sole heir in the theatre" ), played Konstantin, andOlga Knipper(Chekhov's future wife) played Arkadina.The production opened on 17 December 1898 with a sense of crisis in the air in the theatre; most of the actors were mildly self-tranquilised withValerian drops.In a letter to Chekhov, one audience member described how:

In the first act something special started, if you can so describe a mood of excitement in the audience that seemed to grow and grow. Most people walked through the auditorium and corridors with strange faces, looking as if it were their birthday and, indeed, (dear God I'm not joking) it was perfectly possible to go up to some completely strange woman and say: "What a play? Eh?"

Nemirovich-Danchenkodescribed the applause, which came after a prolonged silence, as bursting from the audience like a dam breaking.The production received unanimous praise from the press.

It was not until 1 May 1899 that Chekhov saw the production, in a performance without sets but in make-up and costumes at the Paradiz Theatre.He praised the production but was less keen on Stanislavski's own performance; he objected to the "soft, weak-willed tone" in his interpretation (shared byNemirovich) of Trigorin and entreated Nemirovich to "put some spunk into him or something".He proposed that the play be published with Stanislavski's score of the production'smise en scène.Chekhov's collaboration with Stanislavski proved crucial to the creative development of both men. Stanislavski's attention topsychological realismandensemble playingcoaxed the buried subtleties from the play and revived Chekhov's interest in writing for the stage. Chekhov's unwillingness to explain or expand on the script forced Stanislavski to dig beneath the surface of the text in ways that were new in theatre.The Moscow Art Theatre to this day bears the seagull as itsemblemto commemorate the historic production that gave it its identity.

2001 Public Theatre

TheJoseph Papp Public Theaterpresented Chekhov's play as part of theNew York Shakespeare Festivalsummer season inCentral Parkfrom July 25, 2001 to August 26, 2001. The production, directed byMike Nichols,starredMeryl Streepas Arkadina,Christopher Walkenas Sorin,Philip Seymour Hoffmanas Treplyov,John Goodmanas Shamrayev,Marcia Gay Hardenas Masha,Kevin Klineas Trigorin,Debra Monkas Polina,Stephen Spinellaas Medvedenko, andNatalie Portmanas Nina.

Other notable productions

Uta Hagenmade her Broadway debut as Nina, at the age of 18, in a production withAlfred LuntandLynn Fontannein 1938 at theShubert Theatre.

In November 1992, a Broadway staging directed byMarshall W. Masonopened atLyceum Theatre, New York.The production starredTyne Dalyas Arkadina,Ethan Hawkeas Treplyov,Jon Voightas Trigorin, andLaura Linneyas Nina. In 1998, a production byDaniela Thomas,assisted byLuiz Päetow,toured Brazil under the titleDa Gaivota,withFernanda Montenegroas Arkadina,Matheus Nachtergaeleas Treplyov, andFernanda Torresas Nina.

In early 2007, theRoyal Court Theatrestaged a production ofThe SeagullstarringKristin Scott Thomasas Arkadina,Mackenzie Crookas Treplyov andCarey Mulliganas Nina. It also featuredChiwetel EjioforandArt Malik.The production was directed byIan Rickson,and received positive reviews, includingThe Metro Newspapercalling it "practically perfect". It ran from January 18 to March 17, and Scott Thomas won anOlivier Awardfor her performance.

In 2007/2008, a production by theRoyal Shakespeare Companytoured internationally before coming into residence at theWest End'sNew London Theatreuntil 12 January 2008. It starredWilliam GauntandIan McKellenas Sorin (who alternated withWilliam Gauntin the role, as McKellen also played the title role inKing Lear),Richard Gouldingas Treplyov,Frances Barberas Arkadina,Jonathan Hydeas Dorn,Monica Dolanas Masha, andRomola Garaias Nina. Garai in particular received rave reviews,The Independentcalling her a "woman on the edge of stardom",and theLondon Evening Standardcalling her "superlative", and stating that the play was "distinguished by the illuminating, psychological insights of Miss Garai's performance."

TheClassic Stage Companyin New York City revived the work on 13 March 2008 in a production ofPaul Schmidt's translation directed by Viacheslav Dolgachev. This production was notable for the casting ofDianne Wiestin the role of Arkadina, andAlan Cummingas Trigorin.

On 16 September 2008, theWalter Kerr Theatreon Broadway began previews of Ian Rickson's production ofThe SeagullwithKristin Scott Thomasreprising her role as Arkadina. The cast also includedPeter Sarsgaardas Trigorin,Mackenzie Crookas Treplyov,Art Malikas Dorn,Carey Mulliganas Nina,Zoe Kazanas Masha, andAnn Dowdas Polina.

In 2011, a new version directed byGolden MaskwinnerYuri Butusovdebuted atKonstantin Raikin'sSatyricontheater, notable for its return to comedy and "Brechtian-style techniques. "In 2017 and in coordination with Butusov, a production was filmed and subtitled in English by theStage Russiaproject.

TheOregon Shakespeare FestivalstagedSeagullin the New Theatre from 22 February until 22 June 2012, adapted and directed byLibby Appel.

In 2014, a translation intoAfrikaansunder the titleDie seemeeu,directed byChristiaan Olwagenand starringSandra Prinsloo,was staged at theAardkloparts festival inPotchefstroom.

In October 2014, it was announced that theRegent's Park Open Air Theatrewould present a new version ofThe SeagullbyTorben Bettsin 2015.The play opened on 19 June 2015 and received critical acclaim for its design byJon Bausorand the new adaptation by Betts.

In January 2015, Toronto's Crow's Theatre producedThe Seagullin association withCanadian StageandThe Company Theatre.Helmed by Crow's Theatre's artistic directorChris Abraham,the creative team was composed of set and costume designer Julie Fox, lighting designer Kimberly Purtell and sound designer Thomas Ryder Payne.The Robert Falls adaptation, based on a translation by George Calderon, featured an all-star Canadian cast:

• Yanna McIntoshas Arkadina
• Philip Riccio as Konstantin
• Eric Petersonas Sorin
• Christine Horneas Nina
• Tara Nicodemo as Polina
• Tony Nappoas Shamrayev
• Bahia Watsonas Masha
• Tom Rooney as Trigorin
• Tom McCamusas Dorn
• Gregory Prestas Medvedenko
• Marcus Jamin as Yakov

In March 2015, Hurrah Hurrah and the Hot Blooded Theatre Company presentedThe Seagullin an unused shop-front with the help ofThe Rocks Pop-up.

In 2016,Thomas Ostermeier,director of Berlin'sSchaubühnetheatre, directedThe Seagullat theThéâtre de Vidy,Lausanne.

In 2017, a new version bySimon Stephenswas staged at the Lyric Hammersmith in London, starringLesley Sharpas Irina.

In 2020,Anya Reiss's adaptation ofThe Seagullbegan previews on 11 March in thePlayhouse Theatre,starringEmilia Clarkeas Nina andIndira Varmaas Irina.The production was suspended on 16 March due to the COVID-19 pandemic but subsequently reopened at theHarold Pinter Theatrein July 2022 and ran until September.Also in 2020, theAuckland Theatre Companypresented an on-line production during the COVID-19 lockdown, using the device of a Zoom meeting for the stage. It was adapted by Eli Kent and Eleanor Bishop, who also directed it, with rehearsals and performances carried out online.It was well received by critics around the world, withThe Scotsmandeclaring it one of the "best plays to watch online."

In March 2021, theCrane Creations Theatre Companyled a play reading with its professional theatre artist team on its monthlyPlay Date.The Play Date aims to raise awareness and appreciation of playwrights from around the world.

in 2023, the KissaGo Theatre group fromHyderabadpresented it and it was directed by Jay Jha and was hosted atRangbhoomi Spacesin Hyderabad.

Analysis and criticism

It has been remarked that the play was "a spectacle of waste" (such as at the beginning of the play when Medvedenko asks Masha why she always wears black, she answers "Because I'm in mourning for my life." ).

The play also has anintertextualrelationship withShakespeare'sHamlet.Arkadina and Treplyov quote lines from it before the play-within-a-play in the first act (and this device is itself used inHamlet). There are many allusions to Shakespearean plot details as well. For instance, Treplyov seeks to win his mother back from the usurping older man Trigorin much asHamlettries to winQueen Gertrudeback from his uncleClaudius.

Translation

The Seagullwas first translated into English for a performance at the Royalty Theatre, Glasgow, in November 1909.Since that time, there have been numerous translations of the text—between 1998 and 2004 alone there were 25 published versions.In the introduction to his own version,Tom Stoppardwrote: "You can't have too many English Seagulls: at the intersection of all of them, the Russian one will be forever elusive."In fact, the problems start with the title of the play: there's no sea anywhere near the play's settings, so the bird in question was in all likelihood a lake-dwellinggullsuch as the common gull (larus canus), rather than a nautical variant. In Russian both kinds of birds are namedchayka,simply meaning "gull", as in English. However, the title persists as it is much more euphonious in English than the much shorter and blunter "The Gull", which comes across as too forceful and direct to represent the encompassing vague and partially hidden feelings beneath the surface. Therefore, the faint reference to the sea has been seen as a more fitting representation of the intent of the play.

Some early translations ofThe Seagullhave come under criticism from modern Russian scholars.Marian Fell's translation,in particular, has been criticized for its elementary mistakes and total ignorance of Russian life and culture.Peter France, translator and author of the bookThe Oxford Guide to Literature in English Translation,wrote of Chekhov's multiple adaptations:

Proliferation and confusion of translation reign in the plays. Throughout the history of Chekhov on the British and American stages we see a version translated, adapted, and cobbled together for each new major production, very often by a theatre director with no knowledge of the original, working from a crib prepared by a Russian with no knowledge of the stage.

Notable English translations

Translator	Year	Publisher	Notes
George Calderon	1909	Glasgow Repertory Theatre	This is the first known English translation ofThe Seagull.This translation premiered at theRoyalty Theatre, Glasgow,on 2 November 1909, also directed by Calderon.
Marian Fell	1912	Charles Scribner's Sons	First published English language translation ofThe Seagullin the United States, performed at the Bandbox Theatre onBroadwayby theWashington Square Playersin 1916.Complete text fromProject Gutenberghere.
Fred Eisemann	1913	Poet Lore	Appeared in Volume 26, Number 1 (New Year's 1913) ofPoet Loremagazine
Constance Garnett	1923	Bantam Books	Performed on Broadway at the Civic Repertory Theatre in 1929,directed byEva Le Gallienne.
Stark Young	1939	Charles Scribner's Sons	Used in the 1938 Broadway production starringUta Hagenas Nina,as well as the 1975 film directed by John Desmond.
Elisaveta Fen	1954	Penguin Classics	Along with Constance Garnett's translation, this is one of the most widely read translations ofThe Seagull.
David Magarshack	1956	Hill & Wang	Commissioned for the 1956 West End production at theSaville Theatre,directed by Michael Macowan, and starringDiana Wynyard,Lyndon Brook,andHugh Williams.
Moura Budberg	1968	Sidney LumetProductions	Commissioned and used for the1968 filmdirected by Sidney Lumet.
Tennessee Williams	1981	New Directions Publishing	Williams' "free adaptation" is titledThe Notebook of Trigorin.First produced by theVancouver Playhouse Theatre Companyin 1981, the United States premiere occurred at theCincinnati Playhousein 1996, starringLynn Redgraveas Madame Arkadina. Williams was still revising the script when he died in 1983.
Tania Alexander &Charles Sturridge	1985	Applause Books	Commissioned and used for the 1985Oxford Playhouseproduction directed by Charles Sturridge andVanessa Redgrave.
Michael Frayn	1988	Methuen Publishing	Translated Nina's famous line "I am a seagull," to "I amtheseagull, "as in the seagull in Trigorin's story. This was justified by Frayn, in part, because of the non-existence of indefinite or definite articles in the Russian language.
Pam Gems	1991	Nick Hern Books
David French	1992	Talonbooks	Used in the 1992 Broadway production by theNational Actors Theatreat theLyceum Theatre,directed byMarshall W. Masonand featuringTyne Daly,Ethan Hawke,Laura Linney,andJon Voight.
Paul Schmidt	1997	Harper Perennial	Used in the 2008off-Broadwayproduction at theClassic Stage Company,starringDianne Wiest,Alan Cumming,andKelli Garner.
Tom Stoppard	1997	Faber and Faber	Premiered at theOld Victheatre in London on 28 April 1997. Its United States premiere in July 2001 in New York City drew crowds who sometimes waited 15 hours for tickets.
Peter Gill	2000	Oberon Books
Peter Carson	2002	Penguin Classics
Christopher Hampton	2007	Faber and Faber	Used in theRoyal Court Theatre's 2008 production ofThe Seagullat theWalter Kerr Theatre,directed by Ian Rickson and featuringPeter Sarsgaard,Kristin Scott Thomas,Mackenzie CrookandCarey Mulligan.
Benedict Andrews	2011	Currency Press	Used in the 2011 production at Sydney'sBelvoir St Theatre,starringJudy Davis,David Wenham,Emily Barclay,Anita Hegh,Gareth Davies, Dylan Young and Maeve Dermody, adapted for an Australian setting, with minor dialogue changes.
Anya Reiss	2014		Premiered at theSouthwark Playhouse.
David Hare	2015	Faber and Faber	Presented at theChichester Festival Theatrein tandem with Hare's translations ofPlatonovandIvanov.

Adaptations

Theatre

The American playwrightTennessee Williamsadapted the play asThe Notebook of Trigorin,which premiered in 1981. That year,Thomas Kilroy's adaptation,The Seagullalso premiered at theRoyal Court Theatrein London. The Canadian playwrightDaniel MacIvorwrote an adaptation calledHis Greatness.

In 2004, American playwrightRegina Taylor's African-American adaptation,Drowning Crow,was performed on Broadway.

Emily Mannwrote and directed an adaptation calledA Seagull inthe Hamptons.The play premiered at theMcCarter TheatreMay 2008.

Libby Appeldid a new version that premiered in 2011 at the Marin Theatre in Mill Valley using newly discovered material from Chekhov's original manuscripts. In pre-Revolutionary Russia, plays underwent censorship from two sources, the government censor and the directors. The removed passages were saved in the archives of Russia, and unavailable tillthe fall of the Iron Curtain.

In 2011,Benedict Andrewsre-imagined the work as being set on a modern Australian beach in his production of the play at Sydney's Belvoir Theatre, which starredJudy Davis,David Wenhamand Maeve Darmody. He did this to explore the ideas ofliminalspace and time.

In October 2011, it was announced that a contemporaryHamptons-set film adaptation,Relative Insanity,will be directed by the acting coachLarry Moss,starringDavid Duchovny,Helen Hunt,Maggie GraceandJoan Chen.

In 2013, a deconstruction of the play byAaron Posner,set in the modern day under the titleStupid Fucking Bird,was premiered at theWoolly Mammoth Theatre Companyin Washington, D.C.; it won the 2014Charles MacArthur Award for Outstanding New Play or Musicaland has been staged widely across American theatres.

In 2014,Takarazuka Revues'sStar Troupe performed a musical version of the play, which was adapted and directed by Naoko Koyonagi. It starredMakoto Reias Konstantin andMirei Shirokias Nina.

A 2022 gender-fluid adaptation of the Tom Stoppard version was completed by the Doris Place Players to great success in Los Angeles.

In 2022,Emilia Clarkestarred inAnya Reiss' adaption inHarold Pinter Theatrein London. It was described as a unique 21st century modernisation.

Thomas Bradshawwrote a modern-day adaptation set in New York's Hudson Valley entitledThe Seagull/Woodstock, NY.The play was produced Off-Broadway byThe New Groupin 2023 and starredParker Posey,Nat Wolff,Ato Essandoh,andHari Nef.

Film

Sidney Lumet's 1968 filmThe Sea GullusedMoura Budberg's translation. The play was also adapted as the Russian filmThe Seagullin 1972.

The 2003 filmLa petite Liliby directorClaude Miller,starringLudivine Sagnieras Nina renamed Lili, updates Chekhov's play to contemporary France in the world of the cinema.

Christian Camargodirected a 2014 film adaptation of the play, titledDays and Nights,set in rural New England during the 1980s. The film starred Camargo,William Hurt,Allison Janney,Katie Holmes,Mark Rylance,andJuliet Rylance.

An American film titledThe Seagullwent into production in 2015.It was released on May 11, 2018, by Sony Pictures Classics; directed byMichael Mayerwith a screenplay byStephen Karam,starringAnnette BeningandSaoirse Ronan.

A contemporary Afrikaans-language film adaptation directed byChristiaan Olwagen,titledDie Seemeeu,debuted at theKyknetSilwerskermfees on 23 August 2018.Cintaine Schuttewon the Best Supporting Actress award for her portrayal of Masha.

Opera

The play was the basis for the 1974 operaThe SeagullbyThomas Pasatierito an EnglishlibrettobyKenward Elmslie.

Musical

The 1987 musicalBirds of ParadisebyWinnie Holzmanand David Evans is a metatheatrical adaptation, both loosely following the original play and containing a musical version of the play as the Konstantin equivalent's play.

In 2015, the play was adapted intoSongbird,a country musical by Michael Kimmel andLauren Pritchard.Songbirdsets its story inNashvilleand centers around Tammy Trip, a fading country star. Tammy returns to thehonky tonkwhere she got her start to help her estranged son launch his own music career. The show was produced at59E59 Theatersand featuredKate BaldwinandErin Dilly.It was recognized as aNew York TimesCritic's Pick.

Ballet

It was made into a ballet byJohn Neumeierwith hisHamburg Balletcompany in June 2002. This version re-imagined the main characters as coming from the world of dance. Arkadina became a famous prima ballerina, Nina was a young dancer on the brink of her career. Konstantin appeared as a revolutionary young choreographer and Trigorin as an older, more conventional choreographer.

An earlier ballet in two acts, by Russian composerRodion Shchedrin,was first performed at the Bolshoi Theatre, Moscow in 1980.

References

Notes

Sources

• Allen, David. 2001.Performing Chekhov.London: Routledge.ISBN0-415-18935-7.
• Balukhaty, Sergei Dimitrievich, ed. 1952. 'The Seagull' Produced by Stanislavsky.Trans. David Magarshack. London: Denis Dobson. New York: Theatre Arts Books.
• Benedetti, Jean. 1989.Stanislavski: An Introduction.Revised edition. Original edition published in 1982. London: Methuen.ISBN0-413-50030-6.
• Benedetti, Jean. 1999.Stanislavski: His Life and Art.Revised edition. Original edition published in 1988. London: Methuen.ISBN0-413-52520-1.
• Braun, Edward. 1981. "Stanislavsky and Chekhov".The Director and the Stage: From Naturalism to Grotowski.London: Methuen. p. 59–76.ISBN0-413-46300-1.
• Chekhov, Anton. 1920.Letters of Anton Chekhov to His Family and Friends with Biographical Sketch.Trans. Constance Garnett. New York: Macmillan.Full text available online at Gutenberg
• Gilman, Richard. 1997.Chekhov's Plays: An Opening into Eternity.New York:Yale University Press.ISBN0-300-07256-2
• Miles, Patrick. 1993.Chekhov on the British Stage.London: Cambridge University Press.ISBN0-521-38467-2.
• Rudnitsky, Konstantin. 1981.Meyerhold the Director.Trans. George Petrov. Ed. Sydney Schultze. Revised translation ofRezhisser Meierkhol'd.Moscow: Academy of Sciences, 1969.ISBN0-88233-313-5.
• Worrall, Nick. 1996.The Moscow Art Theatre.Theatre Production Studies ser. London and NY: Routledge.ISBN0-415-05598-9.

External links

• The full text ofThe Seagullat Wikisource, with audio, as translated by Marian Fell.
• The Sea-GullatProject Gutenberg
• ​The Seagull​at theInternet Broadway Database
• Full text ofThe Seagullin the original Russian
• Cast List of 2007/8 RSC Production
• The Seagullpublic domain audiobook atLibriVox
• The 120th Anniversary of Chekhov'sThe Seagull