Theatre Review [Sort Of]: The Seagull by Florence Bell

All opinions are my own.

The Seagull is a play written by the Russian dramatist Anton Chekhov.

The Seagull is also an adaptation of Chekhov’s play by Florence Bell.

The Seagull is currently in performance at the Nottingham New Theatre, located on the University of Nottingham main campus, from Wednesday 27th March – Saturday 30th March. The Nottingham New Theatre is the only entirely student run theatre in the country.

My Photo [The Seagull].jpg

The Seagull explores conflicting relationships between four characters:

  • Boris, a writer
  • Irine, an actress
  • Nina, an actress
  • Stanley, a playwright

Florence has adapted Chekhov’s original by reinterpreting and repeating the final act of the play four times, in order to highlight four different character perspectives. This is a clear diversion from Chekhov’s original four act structure. Indeed, The Seagull calls attention throughout to its structural and stylistic differences from Chekhov, commenting on old literary traditions, and the act of adaptation and new writing.

“Is this meant to be an adaptation?”

“I don’t know what it is but it doesn’t feel much like the original.”

“And I don’t like that.”

I thought this was an interesting idea; adaptation is a subject I am interested in myself, as it raises a number of questions such as:

  • What are adaptations “allowed” to change?
  • What are adaptations “not allowed” to change?
  • What is an adaptation expected to include or exclude?

At various points, The Seagull pauses to explain, rewind, or critique the characters onstage. Very metatheatrical. Personally, I found this confusing. I don’t know a great deal about the theatre or Chekhov however, so this could easily be my ignorance showing.

Whilst I may not have understood everything, I still enjoyed the play – and laughed! I was surprised at how funny this adaptation of The Seagull was. I didn’t necessarily laugh at everything, but, given what I knew about Chekhov’s play beforehand (a story about sad writers), I was impressed by the amount of well-delivered, natural-sounding humour contained within a story largely focused on suffering.

My favourite part of the play was Stanley’s direct address to the audience, criticising criticism. He argued in support of new writing, and challenged the critics who seemingly live to drag other people’s work down.  (what does this mean for me, as a “critic”?) I thought this speech was powerful, and an excellent piece of Florence’s writing.

“I know that one day, I could make something really good, a great work of art. And a lot of people are never going to do that. So I’m worth something.”

The Seagull will be performed at Nottingham New Theatre until Saturday 30th March. Tickets are still available to reserve here.

– Judith

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Theatre Review [Sort Of]: Vaginal Discharge by Florence Bell

All opinions are my own.

Vaginal Discharge is a play written and directed by Florence Bell. It was performed at the Nottingham New Theatre, located on the University of Nottingham main campus, from Monday 14th – Tuesday 15th May. The Nottingham New Theatre is the only entirely student run theatre in the country.

If not evident from the … explicit title, this is a play which tackles the use of certain words and language head-on.

Vaginal Discharge is about four people: three women and one man, all living their lives differently.

The play addresses themes of sexism and censorship – what words we can say, and what words we can’t – with particular focus on menstruation and the female experience. I can understand why this might not be for everyone. I’ll admit it took me a few moments to understand it.

However, I did enjoy this play.

Eleanor Rickenbach’s performance as Katherine was especially entertaining; her line delivery was always engaging and witty. Not only is this a reflection of Eleanor’s talent as an actor, but this is a credit to Florence’s writing and directing.

Although I felt the other characters didn’t make as much of an impression, I appreciated the prominence of Beth Summerfield’s Asha; Asha is a 13 year old girl coming to terms with beginning her period. This can be a scary experience – an experience which isn’t helped when some attempt to brush useful information under the carpet simply because it’s “gross” to talk about.

Some of the jokes landed really well, others – I felt – didn’t. That’s ok though, everyone has different styles of humour.

The meta-theatrical moments were great – the first time the lights went out, and the characters panicked a little, I thought something was genuinely wrong; I loved this surprise. The characters addressed the conventions of the theatre and subverted them, fluctuating between simply being in a play and being aware they’re in a play.

Overall, Vaginal Discharge was an enjoyable play. Each character had a different personality, and it was an entertaining performance I could have watched more of. I’m certainly impressed by the quality of student theatre at Nottingham University.

I interviewed Florence last year: click here to read it.

– Judith

 

 

An Interview With Florence Bell

This week, I “interviewed” Florence Bell, a theatre blogger and theatre kid.

I say interviewed; it was more of a chat. Florence is a good friend of mine, and a fellow English student at the University of Nottingham. She wrote her first blog post in December 2016.

Florence Screenshot 2

The first play Florence ever saw was an amateur pantomime production of A Christmas Carol. “I was around three years old, and I remember the guy who played Scrooge putting pyjamas on top of his clothes. Of course, the audience was meant to suspend their disbelief, but three-year-old me was blown away that someone could wear clothes under their pyjamas.”

Since grappling with the discovery of costume in theatre, Florence has moved on to grapple with plays at an advanced critical level.

“I had been tweeting about theatre for a while and people kept encouraging me to start a blog, or asking me if I had a blog. I had been thinking about it for a while, but a few people suggesting it was all it took.” she said.

“I had already booked to see Mary Stuart at the Almeida Theatre and I knew that I’d be able to write an in-depth and interesting review of it. I probably spent more time on that review than on anything else I’ve ever written. I wanted it to be perfect. I wanted to grab people’s attention. I wanted to make a splash.”

‘I wanted to grab people’s attention.’

Florence certainly did make a splash; prominent theatre critics including Andrew Haydon and Matt Trueman both praised and retweeted her first blog post.

Florence Screenshot 3

She is upfront about writing, as well as reading, honest reviews.

“I like reviews that say what they mean, because that’s what they are meant to do. Reviews that mock awful shows can be fun to read, but they’re rarely the best reviews. My favourite reviews to read are assertive, thoughtfully considered, and beautifully worded.”

“I stopped writing negative reviews because all I was doing was annoying people who might employ me when I graduate, and there’s no point in being cruel. It’s fine to be critical – sometimes even mean – but constructive criticism is always best. It’s rude to both the theatre makers and your readers to take the piss out of a show and not give a careful and considered approach to what went wrong.

‘It’s fine to be critical – sometimes even mean – but constructive criticism is always best.’

If I’m going to be really negative about a show, instead of just slating it, I’d rather engage with it on a political level. That way, I can explain why the show had issues.Florence Screenshot 1 Sometimes I am too finicky though. I went to the theatre with a friend recently and I think I weirded her out by asking: Do you think this is problematic?’ during the interval!”

However, although she’s been blogging for a few months, Florence is adamant that writing is not her end-goal.

“I don’t want to be a critic and I don’t want to be a journalist. I don’t think I have a ‘writing style’ either –  other than an overuse of parentheses and a reliance on long paragraphs.”

“I like to think that my writing isn’t dissimilar to Meg Vaughan’s, but I’m kidding myself.”

“I write blog posts for fun.” she continued, “This is something I’m doing while at university, and I’ve met lots of cool people doing it, but being a critic is just not what I want to do with my life.”

Instead, Florence wants to be a director, and theatre has always been a big part of her life.

She has seen a variety of productions, but for her, it all started with a production of Oresteia. “It’s still my favourite play. I know half of it off by heart. Most theatre fans hum along to their favourite showstoppers in the shower. I recite bits of Oresteia in the shower.”

‘I recite bits of Oresteia in the shower.’

As someone who is not so much of a theatre kid, I steered the conversation towards a common interest of ours – Shakespeare.

As part of the BA English course at the University of Nottingham, both Florence and I chose a module title Shakespeare’s Histories: Critical Approaches. The texts we looked at were Richard II, Henry IV Part 1, Henry IV Part 2, and Henry V.  Eagle-eyed followers may note this is why some of my blog posts focused on these last year.

Shakespeare’s Histories has been one of the most enjoyable aspects of studying English at Nottingham so far.” Florence said, “The plays we studied will always have a fond place in my heart; the module really got me into the degree. I think it helped me settle in. And I met you through Shakespeare’s Histories, so that’s always a plus.”

I blush.

When asked about her favourite Shakespeare productions, Florence said, “In terms of a director’s vision, Ivo van Hove’s Kings of War and Roman Tragedies, Thomas Ostermeier’s Richard III, and Icke’s Hamlet. Cheek by Jowl’s The Winter’s Tale and Deborah Warner’s King Lear were also gems.” she said.

‘There’s no such thing as a hard and fast rule to as what makes theatre good, and I’m definitely not the person to ask.’

“I find original practices productions, like Dromgoole’s production at Shakespeare’s Globe, quite hard to engage with. I’m interested in directors who are capable of cutting the text and finely tuning their stagecraft to engineer a tone and an atmosphere based on the events in the play, and actors capable of making Shakespeare’s words sound like they were written yesterday.”


Quick-fire Questions:

Favourite theatre actor?

Andrew Scott or Hans Kesting.

Favourite theatre actress?

Lia Williams, duh.

If you could be any female character in any play who would you be and why?

Most of the plays I see are far too depressing to actually want to be any of the women in them. None. Literally none.

What about a male character?

Nope.


At any rate, it’s clear Florence is a confident theatre blogger and theatre kid but, crucially, she is not a theatre critic. She has other plans for when she grows up.

‘What do you wanna like be when you grow up?’

‘I am grown up.’

(Annie Baker, The Flick at The National Theatre)
(Florence Bell, Top Ten Plays of 2016)

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Thank you for reading!

– Judith