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Theater J
DC Jewish Community Center
1529 16th Street NW
Washington DC 20036
202-777-3229
 

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A professional company
Plays deal with culture and human values
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The Seagull on 16th Street
June 17 – July 19, 2009
Wednesday - Thursday at 7:30 pm, Saturday at 8 pm
Sunday at 3 and 7:30 pm
Reviewed Ju
ne 27 by David Siegel

Ari Roth's Unique adaptation for those immersed in Chekhov’s world of self-indulgent beings
Running time 2:20 – one intermission
Tickets $30 - $55

 


This is an appealing work for those immersed in the esteemed Anton Chekhov’s oeuvre and who want to see a contemporary world premiere adaptation with a rather unique twist. This is no half-hearted variation of costume changes and frothy accents. This The Seagull is a gutsy, distinctive turn that brings forth issues of faith that Ari Roth found present in Chekhov’s century old original. In his adaptation, Roth superimposes matters regarding the Jewish faith and the struggles of prominent characters to either reconnect with their former religion or continue on their path to assimilation and integration into society. This newly-minted theme is overlaid on Chekhov’s bracing work regarding artistic creativity as well as the consequences of mismatches of love. Does the adaptation work? More so for Chekhov aficionados who want to size up an interloper’s efforts. The needy diva and verbally bullying mother is played with a flip of the hand by Naomi Jacobson. She lives for the external validation of audience applause. Alexander Strain, her extremely sensitive and psychologically unmoored playwright son is inevitably outwitted or outmaneuvered and not just by Jacobson. Surrounding them are assorted others, each with an emotionally unstable life story that captures the essence of people who have little to keep themselves vibrant unless “an other” is present to shine a light or provide warm hugs. The underlying original, The Seagull (1896), still connects with its dark humor; a son crushed, feckless males hurting impressionable young women and languid, dreamy people grappling with their needy natures. This is ultimately a heady rendering of drama kings and queens living self-indulgent lives.

Storyline: Youth is envied, challenged and mortally wounded in this tale of lovelorn artists, civil servants and household workers. In a new adaptation of Chekhov's play, there is a contemporary portal though which the production journeys back in time to the Russian countryside revealing the clash between mother and son affecting others.

Anton Chekhov (1860–1904) was a pre-eminent Russian playwright and a major short-story writer. He produced four theater classics including Uncle Vanya (1897), Three Sisters (1901), and The Cherry Orchard (1904) as well as The Seagull. We will never know what Chekhov would think of this adaptation, but he did give a nod with Seagull lines such as “we need new forms of expression” matched with “in all the universe nothing remains permanent and unchanged but the spirit.” Rather than reflecting upon the oft-revived playwright Chekhov, your reviewer notes that adapter Roth wrote in length regarding Theater J’s “first foray into fully producing classical work” and the liberties taken to connect with the Theatre J mission to “celebrate the distinctive urban voice and social vision that are part of the Jewish cultural legacy.” John Vreeke’s direction is crisp with a speedy sense of time even with a stage clock in the audience’s view stuck at 8 PM. He has blocked this work so that the stage is filled not just with objects but with life. The cast glides and slides, working with their upper bodies, projecting their inner commotions with a tad of a knowing grin. A curtain shimmies as if wind is blowing, a shimmering lake is projected at the rear of the set and later even a visibly dead stuffed bird appears.

Naomi Jacobson’s manipulative, self-absorbed Arkadina is the centerpiece; she willfully pulls focus away from anyone who dares take her spotlight. She is a bundle of waving dismissive arms, showering trivializing glances at Alexander Strain’s attempts to live his own dream even as he surrenders to her seemingly innocent hugs. Yet she does not seem to fill the stage or suck out the air with her presence. Strain is artsy sensitive with his struggling soul visible, finally gaining control with one final act of off-set uncoupling from Jacobson after a showy bit of frustration when he has the stage to himself. It is his journey into forgotten Jewish roots that is the crux of the Roth adaptation that is met with disdain and derision as his character evolves. J. Fred Shiffman is the generally cheerful doctor who has lived a full life and still can turn heads. He has the most realized sense of decency toward others though he projects an almost disengaged manner. Veronica del Cerro is the spirited, innocent who describes herself as a seagull, wanting freedom to do as she desires. She is undone by her ga-ga reactions to the celebrities she meets leading to her loss of youthful spotlessness … beaten down by the stronger and less caring. Jerry Whiddon is the dreamy playwright who is an object of desire by women who find his frailness and words appealing. Tessa Klein is a brooding Masha; weary and self-pitying living her life in mourning even before mourning is required. Brian Hemmingsen and Nanna Ingvarsson add working class bite. 

The Theatre J stage is decked out in weathered grey lumber given a sense of the sun bleached outdoors. Chairs, desks and a small cupboard are moved about to give a sense of time and seasonal changes; the lighting design producing the cold feel of an autumn storm. Costumes are not so much of a period, but of a class; no tattered clothes, but of the natty bourgeoisie and arty set impeccably dressed. Even those of lesser classes are not unkempt. Snippets of love songs from the 1950’s onward are sung by several actors to push feelings of unrequited love to the fore.

Adapted by Ari Roth from the play by Anton Chekhov. Translation by Carol Rocamora. Directed by John Vreeke. Design: Misha Kachman (set and costumes) Dan Covey (lights) Matt Nielson (sound) Stan Barouh (photography) Kate Kilbane (stage manager). Cast: Veronica del Cerro, Cesar A. Guadamuz, Brian Hemmingsen, Nanna Ingvarsson, Naomi Jacobson, Tessa Klein, Mark Krawczyk, Stephen Patrick Martin, Jason McCool, J. Fred Shiffman, Alexander Strain, Jerry Whiddon.