SALT LAKE CITY — New World Shakespeare is one of many grassroots theatre companies this area is privileged to claim, few of which are tackling classic theatre. The Seagull, written in 1895 by Anton Chekhov, appears to be the company’s first Chekhov piece, an attempt which should be applauded. This production is Director Shea Potter’s directorial debut, a huge venture for a new director. Given how challenging it can be for a small company to produce such content well, I tempered my expectations. I was pleasantly surprised therefore by New World’s heartfelt and thoughtful grassroots production.
Set against the backdrop of an isolated country estate in Russia, The Seagull explores the artistic ambitions and complex romantic entanglements of a small group of writers, actors, and family members. The text for this production is adapted by one of the company’s producers, Élise Hanson. Hanson’s adaptation has an ease of language that feels somewhat updated. However, at a little over three hours including an intermission, it is just too long to hold the attention of most modern audiences. This script needs more cutting to satisfy the company’s mission of appealing to a modern audience. That said, it’s a tribute to this cast that the production managed to hold my attention for the full three hours—it’s a solid production and the length certainly isn’t a reason not to see the show, but audiences should be prepared.
Performed at the Alliance Theater’s intimate black box theater, arranged with audience on three sides, the cast of twelve is a cozy fit for the small space. Entering the theatre, I was struck by the detailed backdrop system with several professionally printed vinyl drops suspended from cross pipes, held in place with white cording. This set design credited to Blayne Wiley feels overtly theatrical, with visible poles and cords holding it up, but also very realistic in the detail of the drops themselves, with lake and meadow scenes, as well as interiors with painted walls and windows. My first thought was that this backdrop was unnecessary, that engaging the audience’s imagination would be sufficient, if not superior to the stacked backdrops. But the arrangement grew on me after a bit—the realism of the backdrops themselves contrasted with the clear theatricality of the mechanism in a way that is reminiscent of the work itself—the hyper-realism that is simultaneously realistic and theatrical. Other than a bit of clunky transition from one to the next, they work well to set the scene.
The stage at start is full of wooden chairs and benches facing a small makeshift stage with a lake scene behind, and the space only gets more crowded as the show progresses and changes locations. The transitions between these scenes are cumbersome. Potter makes an excellent choice to have Konstantin, played by Jackson Eastmond, sit center stage under a tight light, playing the guitar during the transitions. This makes the changes more pleasant and distracts the audience from the movement going on behind. But there is so much happening, that a strumming guitar can’t fully distract from these transitions, which only contribute to the length of the production. I wondered whether there couldn’t have been a further paring down of set dressing in order to streamline changes, as well as make the stage feel less crowded. Granted, Chekhov is rooted in realism and many set pieces are scripted, but smaller pieces doing double-duty, or foregone entirely where possible, would have served the space and pacing better.
There is gentle background sound, also by Blayne Wiley, throughout the production. From classical music at preshow and intermission, to faint water lapping, crickets and distant singing across the lake in the evening, and a pouring rain storm later on, the sound contributes positively to the production.
Director Potter uses the small space adeptly. Staging is tight and intentional, with natural movement highlight the character relationships and unspoken subtext. This creates in the small space, an intimate ensemble feeling—of characters that know each other well, irritatingly so at times. The choice to have Konstantin play the guitar to accompany the play in the first act is an enchanting one. Potter also clearly has an eye for visual tableau. With Chekhov, there is an abundance of time spent with multiple characters taking turns listening to one another monologuing. Potter uses the wide array of set pieces to arrange the cast in visually interesting ways that nonetheless draw the eye back to the desired focal point. The staging does seem to favor the center section, so I recommend patrons arrive early to claim those seats. The nature of Chekhov’s dialogue is slow and deliberate, creating an uphill pacing battle for actors and directors alike. Although this production is fairly tight and there are not huge gaps in dialogue or entrances, there is some overindulgence in the “Chekhovian Pause” where characters spend time gazing out windows and letting heavy silence hang in the air, leaving some opportunity for quicker entrances, and faster and overlapping dialogue, that could improve the pacing.
The acting is surprisingly capable for a small company. There is clearly a range of experience and skill, but the whole ensemble works well together. They know their lines and cues and seem at home with the language and have well developed relationships. Despite the small space, there are times when I struggled to hear and understand primarily due to enunciation and projection. Even in such a small space, both are still needed to some degree, especially on the occasion when lines are delivered facing away from the audience, or characters share an intimate moment. Jackson Eastmond plays a sincere and likeable Konstantin, although he is prone to aimless pacing at times. Tom Jones as Illya inserts some much needed comedy with his tiresome storytelling, as does Jeffrey Owen as an adept Sorin. Amber Heinrich’s Irina is well-developed, if occasionally overly frenetic. Lisa Nicole Thurman’s moody Masha is believable in her brooding and desperation. Kate Potter as Nina has a good stage presence, with occasional muddy diction. Zach Reynolds as Trigorin is the strongest in the cast, establishing his character immediately, observing and absorbing everything. Reynolds delivery is clean, clear, and convincing. The relational interactions between characters is often rather moving.
I found the costume design, by Élise Hanson, a bit confusing, as if there is an intended message, but it isn’t clear what that message is. The women’s gowns at the top of the show clearly set the stage as a period piece, such that I found the subsequent appearance, early on, of several uncovered tattoos distracting and disconnected. Similarly, after intermission, Masha’s open blouse revealing a black corset had the same disconnected feel. It’s almost like the costuming intends to become more timeless or modern as the show progresses, but that progression is inconsistently applied. Had the costuming leaned away from period attire from the outset and consistently into more modern or timeless choices, the tattoos and open blouse would not have felt so anachronistic.
Despite some minor flaws, the production is overall an impressive, and thought provoking, commendable effort. There are few opportunities to see Chekhov in the area, I recommend taking this one.
MORE INFO: THE SEAGULL is currently playing at The Alliance Theatre Blackbox (602 East 500 South, Salt Lake City, UT 84102). Performances are held at 7:30 PM on Fridays, Saturdays and Mondays, with some 2:30 PM matinees on Saturdays through June 27, 2026. General Admission tickets are $20. For more information visit https://newworldshakespeare.org/