What I liked
The Seagull, like all great theatrical works, functions as a beautiful symphony of different disciplines working together. It’s rare for a Hollywood Fringe production to have designers of any kind, let alone a full team of costume, set, and lighting artists. Ian Olsen has transformed the limited and unconventional alley stage masterfully, with two paper structures evoking fragile, flammable curtains, and a corrugated cardboard box. This may not seem extraordinary, but the result is electric. Cad Apostol’s lighting fixtures similarly achieve the impossible: a full lighting grid doubling as handheld lighting, in a space clearly not setup to accommodate. And yet, the lights are their own character in the piece, lending specificity of shadow and creating dynamic relationships between the actors. The costumes are also magnificent at capturing each character’s idiosyncrasies from the very first moment (thanks to consultation from LEXI.) Each actor plays their part uniquely and with perfect accuracy- Alejandra Jaime’s lovable and earnest Medvedenko, Donté Ashon Green’s powerful, brittle, commanding, graceful, and magnificent lioness Arkadina, Anu Bhatt’s troubled and cruel Masha (never seen without the crutch of a substance), Avalon Greenberg Call’s sympathetic, pained, neurotic, yet grounded Konstantin (a much more interesting portrayal in the hands of a femme actor), BK Dawson’s deliciously specific, hilarious, and mechanical Dorn, Adzua Amoa’s Nina who experiences a fully-realized arc from fearful and idealistic young actor to a crushed and grieving woman scorned, Cal Walker’s jubilant, aged yet tragically unwise Sorin, Miguel Nuñez’ understated and burning Trigorin, Hope Simpson’s mysterious and commanding Shamrayev, and Juan Ayala’s sensual, sensitive, and perfectly balanced Polina. All these elements come together under the kind and gently guiding directorial hand of Josh Sobel, who has masterfully woven his collaborators together into something truly special.
What I didn't like
(What could be improved…) This production rewards those who are already familiar with the text of The Seagull. The adaptation chosen omits some important contextual details, leaving certain aspects of place and relationships nebulous in favor of focusing entirely on in-the-moment character interactions. It may be difficult to follow the many different plotlines without a brush-up on the synopsis of the original text, though being swept away in the drama and performances will still be an enjoyable 2 hours. Due to the alley staging, some brief moments of the show involved all actors onstage with their back fully turned to my side of the theatre, leaving me to look around, hoping to catch a glimpse of an expression. When you see this show (there is no if, you must!) make sure you’re sitting across from an audience member you’re comfortable looking at, as you’ll be seeing them for much of the performance!
My overall impression
This is the show to see if you’re looking for artistic excellence on display. FutureHome’s ability to transform a tiny room in Thymele Arts into one of Fringe’s most fully realized theatrical worlds is magnificent, and the actors’ performances leap from the setting they’ve created to truly impress. You’d be hard pressed to find a more talented ensemble than the one Sobel has put together- this is THE SHOW to see if you want to be held rapt at attention by masterful and detailed theatre artists. Though the story may not be for the faint of heart, after years spent literally locked inside our homes, an exploration of psychological imprisonment and the painful stories we tell ourselves reminds us to keep sharp in the face of our own insecurities.
