Written over one hundred years ago, Chekhov’s The Seagull is a story about hopes and dreams, youth and love: all themes that are still as alive today in Dublin than they were in turn-of-the-century Russia. With Brian Friel’s Afterplay digging up two popular Chekhov characters in The Gate, we are perhaps seeing a renaissance of Russia’s paramount playwright. We spoke to director Wayne Jordan, who chose The Seagull as the annual play for the National Youth Theatre, about what the play means to him, and about working with the future talent of Irish theatre.
The Seagull is quite a dark story, would that be correct?
Well none of the character’s hopes or dreams are fulfilled and they are all very sorely disappointed. Also Konstantin famously kills himself at the end, so yes, it is a very dark play. The National Youth Theatre mainly put on classics such as A Midsummer Night’s Dream so when I was asked to do the play I decided to pick The Seagull. It’s about wanting to be famous and wanting to make art and your parents not acknowledging you. I also noticed when I read the play that, bar one particular scene, almost all scenes have people on stage who are in relationships with young people. Be it their mother, father uncles etc. This meant there was always a scene showing a young person getting involved with the world around them. These dark themes apparent in the play are connected to the frustrations of youth.
But Chekhov referred to it as a comedy correct?
Yes, it is very funny and eccentric; the best comedy usually refers to very dark things in a light that makes them uncanny. In saying that most productions of The Seagull are very dark, and it’s not that we’re looking to shy away from that, moreso that we’re hoping to present a production that is very whole. The young actors in it are very much alive rather than tense and angry. The world does however crush down on them in the end.
It’s over 100 years old, so would you say it is still as fresh today as ever?
The version we’re doing was done a few years ago, in the National Theatre by a playwright called Martin Crimp. I directed a play of his in the Project a few years ago and it’s a very concise sharp and vastly shorter translation. He has gotten rid of all the Russian context – the characters still have Russian names and they still talk about being from Russia, but it’s been shaved slightly. It is about people wanting to make it and being jealous of their peers who are more successful. Unrequited love also plays a role. I think those themes are completely timeless. How hard it is to make your way, and how hard it is to be passionate.
This is your first time working with Chekhov?
It is, due to the large cast it can be quite expensive to put on and it’s a play I’ve wanted to do for years. When I was asked to work with the Youth Theatre I thought the cast would be able to relate with the text. I was also interested to see how the play would withstand being filtered through their eyes.
How are you finding working with a younger cast then you’re perhaps used to?
I really like it, we met a huge amount of young people which we cast down to sixteen. It’s very exciting and different, they are all very bright smart and energetic people from all over the country, from a far more diverse Ireland than I was from.
The Seagull is playing on the Peacock Stage in The Abbey Theatre from the 24th til the 29th of August
