Wed. November 3, 2010
By John Olson
Out in the suburbs, the Chicago theater community was honoring its own at the annual Jeff Awards for Equity productions, but the official opening of The Seagull at the Goodman may have been an even more effective tribute to the work being done in this city. So much of Chicago theater is realistic, actor-driven modern drama that a bravura production of Chekhov's Seagull, staged by the director who is arguably the city's foremost and performed by a cast drawn entirely from Chicago-based actors, is an appropriate showcase of the talent and craft of Chicago theater at its highest levels.
Guinan, in the smaller but significant role of Sorin, is heartbreaking as a lonely civil servant, regretful at the emptiness of his long life and lonely on his country estate outside the bustle of Moscow. In the fourth act, his ailing Sorin speaks with a hesitancy that suggests he has suffered a stroke, creating even more empathy for this kindest and wisest of the play's characters. Demonstrating the true work ethic of Chicago actors, Guinan was practicing his craft on stage even as he was being honored for it across town by winning a Jeff Award for his role in Victory Gardens' A Guide for the Perplexed.
There's great supporting character work as well. Steve Pickering is an amusingly crusty and headstrong Shamrayev, the manager of the estate. Janet Ulrich Brooks is his wife Polina, desperately trying to win Constantin's affection for Masha by mothering her herself and hopelessly in love with the doctor Dorn—a wiser and kinder man than her husband. Dorn is given an air of sad resignation by Scott Jaeck.
In public statements, Falls has emphasized his production's focus on actors rather than sets. Todd Rosenthal's design uses a rough wooden platform that stretches diagonally across the floor of the black box Owen Theatre, with a bas-relief mural suggesting trees and sky above the upstage area. It's really all that is needed. Falls' direction keeps the focus on the performers, and draws attention to itself only in his choice to have some of the actors sometimes sitting at the back of the playing area and visible to the audience, when they are textually onstage. This device is effective in suggesting how the family influences the actions of each other even when not physically present, but it's still a little confusing as it's not used consistently.
Falls has also adapted his own script, from a translation by George Calderon. His language sounds mostly contemporary, but with a certain formality of tone that suggests late 19th century aristocracy. It makes the piece more accessible, but I could have done without a few of the current overused expressions (like "I get that" meaning "I understand," or "end of story.") These catch-phrases are irritating enough in everyday life without imposing them on Chekhov. His use of timelessness in the costumes by Ana Kuzmanic is more effective, with her designs employing a mix of earthy looks from today as well the turn of the last century.
Falls' direction is not entirely in a realistic style. There's also a certain deliberateness much of the time that borders on the presentational. It seems to say "classic" but doesn't interfere with our connection to the characters. This Seagull is above all an exceptionally clear and accessible production of the piece and an incredible opportunity for anyone desiring to study the play or Chekhov. It does take that sort of motivation to stick with it. At three hours, with the only intermission coming almost two hours into the performance following the third of four acts, Falls and Chekhov demand some careful listening from the audience. It will be well worth the effort for those audiences willing to take that journey and with tickets priced at only $10 to $45, it's an opportunity any serious lover or student of theater ought not to miss.
The Seagull will play through November 14, 2010, at the Goodman's Owen Theatre, 170 N. Dearborn, Chicago. For ticket information, visit GoodmanTheatre.org, visit the Box Office or call 312-443-3800.
Photo: Mary Beth Fisher and Francis Guinan (by: Liz Lauren)
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