Aaron Posner’s ingenious reconception of The Seagull accomplishes what even the best Chekhovian productions and adaptations often fail to do: show us why the revered Russian playwright saw his plays as comedies.
Posner’s inventive approach places Chekhov’s story in contemporary America, with the characters—modeled on the originals or subtle variations thereof—voicing their worldviews in colloquial terms that we use today. All this while throwing late 19th century Russian reserve and gentrification to the wind, with each other and with the audience, as they insistently open the fourth wall to challenge us on various questions, such as the effectiveness of the theatre
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