Black Swan’s ‘The Seagull’ delivers mixed signals

The works of Russian author Anton Chekhov have appealed to generations of literature lovers and theatre-goers since the late 19th Century, in particular his plays in which larger-than-life characters are thrown into the mix of more ‘common’ folk. ‘The Seagull’ is probably the best example of this – its storyline honing in on a diva actress who brings her entourage home to the family estate, only to turn the country folks’ lives (including her own son’s) upside down.

In the Black Swan State Theatre’s production, the diva – aka: Madame Arkadina – is played by Greta Scacchi, who certainly seems perfect for the larger-than-life role since she is the most famous and accomplished performer on this particular stage, in the company of, well let’s just say lesser famous and accomplished performers. For this reason, Scacchi could probably have cut back on the ceremony and fuss in her delivery and allowed the script, her natural talent, and indeed her celebrity, speak for themselves. Instead, it seemed on opening night performance as if she were trying too hard to be over-the-top, larger-than-life, haughtier-than-thou, and all that jazz.

Whether or not it is because she features in the play with real-life daughter, Leila George, it appeared as though Scacchi was trying to prove her worth too strongly (suffice to say I won’t go into any ‘Mommy Dearest’ analogies here, but there did seem to be a little familial strain on stage). George, like her mother, is an impressive actress, especially when in two-hander conversation, but it’s when she is forced to act solo, or indeed interact with a larger group, that things start to look a tad too trying. Presumably, she will loosen up with experience, and a future in the performing arts does look fairly bright for the girl.

As an ensemble, the cast works well enough to present Chekhov’s tapestry of dreams and disillusionment in everyday life (and in life – “the bigger picture”). Hats must go off to local actor Rebecca Davis whose dry-humoured delivery of Masha, the daughter of the estate’s steward, now very much the haus frau, lends an earthy edge to otherwise stiffer proceedings.

Still, a production can go too far in its loosening up of certain elements, as is the case with script adaptor Hilary Bell’s injection of modern words amid a blatant archaic setting (“old fart”, “crap” and “wankery” being a few of the more memorable ones). Had the play been brought to the here-and-now, complete with modern costume and contemporary setting, this alteration of Chekhov’s prose would have worked brilliantly. But that this production is obviously set in its original late 1800s template, the rude words just sound out of place. Still, they did provide for some light comic relief.

Really, three things would have helped make this production of ‘The Seagull’ fly: a certainty of which place in time it was set; less arched acting; and someone clever enough to direct it to its original short-story length instead of morphing it into a two-and-a-half-hour epic too ironic for its own good.  Antonino Tati

‘The Seagull’ is on at Heath Ledger Theatre, State Theatre Centre, Perth until August 31.

Tickets are available on 1300 795 012 or through www.ticketek.com.au.

Photography by Gary Marsh.