Saro Lusty-Cavallari’s adaptation of Chekhov’s The Seagull is a timely and poignant production that takes on the Sydney theatre scene with scathing joy and masterfully manages to seamlessly weave contemporary themes into the classic text.
March 2020 and nothing is going to be the same again, lockdowns are in force and uncertainly plagues the world, but still, life must go on. As the months and months pass, family and friends gather on an old estate to maintain a sense of normalcy but nothing has ever been normal for these individuals.
From the get go, Lusty-Cavallari’s text pulls no punches – they have an axe to grind and the work is better for it. The writing oozes with razor sharp wit, perfectly astute observations and just sounds so damn good in the actors mouths.
Slowly just the right amount of restrain, Lusty-Cavallari uses the intent of Chekhov’s work to not just question Sydney’s artistic statues quo but to shine to light on its futile hypocrisy and insufferable stagnation.
Taking on the double duties of adaptor and director, Lusty-Cavallari brings equal talent and imagination to the later role. They have a near perfect understanding of the characters and the world they inhabit, giving life to the text with impeccable pace, excitement and an inspiring attention to detail.
The work is elevated even more by the powerhouse ensemble, Talia Benatar, Kath Gordon, Jason Jefferies, Deborah Jones, Saro Lepejian, Tim McGarry, Brendan Miles, Shan-Ree Tan and Alexandra Travers each give a breathtaking performance that no doubt pulls the audience right back to the early days of the pandemic and triggers memories of isolation and unending uncertainty.
Effortlessly bouncing between tragedy and comedy, the ensemble showcase not only an intimate connection to the text but a riveting symbiosis with each other allowing for rich and multifaceted performances.
Kate Beere’s set and costume design help to ground the work even more, using an array of innovative and surprising creative choices to add depth and gravitas. Aron Murray’s lighting is by far the work’s emotional anchor – cleverly using light and shade to set tone of a scene or highlight a character’s emotional state and all within the chaos of an ever moving world.
Often yet another production of The Seagull is met with an understandable eye-roll and this work, at first, was no different, however this is a production very much deserving of praise for it’s fresh take, insightful observations and blistering performances. Let’s hope that the limitations of this limited season are walked back and the production is given an opportunity to extend and thrive.
The Seagull
KXT on Broadway, 181 Broadway, Ultimo (Sydney)
Season continues to 6 December 2025
Information and Bookings: www.kingsxtheatre.com
Images: Shan-Ree Tan, Deborah Jones, Alexandra Travers, Brendan Miles and Saro Lepejian in The Seagull – photo by Robert Miniter Photography | Brendan Miles, Deborah Jones and Shan-Ree Tan in The Seagull – photo by Robert Miniter Photography | Brendan Miles, Tim McGarry and Jason Jefferies in The Seagull – photo by Robert Miniter Photography
Review: Gavin Roach