Almost fifteen years after the premiere of Three Sisters, the celebrated theatre has once again turned to a play by Anton Chekhov. Kirill Pirogov deserves enormous credit for daring to take such an extraordinarily difficult and risky step. And the risk has paid off. His production carefully preserves the theatrical traditions and the “light breath” of the Pyotr Fomenko Workshop. There is none of the gaudy theatricality, formalism or directorial trickery that distorts the essence of this great play. The production contains much of the melancholy humor so characteristic of Pyotr Fomenko’s theatre. He disliked pathos, so I will refrain from grand words about paying tribute to his memory. But this Seagull is, without question, a bow to the great Master.

Pavel Podkladov, International Theatre Institute

It seems that nowadays, in order to surprise an audience, contemporary theatre needs not “new forms” but something as classical as possible. Rather than trying to astonish, one should follow the author and the text, invent nothing new, add nothing of one’s own and, in general, simply leave Chekhov alone. One might expect such an approach to produce something hopelessly musty and tedious, yet what Kirill Pirogov has created with Chekhov’s The Seagull at the Pyotr Fomenko Workshop is anything but a boring production.

[…] There is something indefinably beautiful about this production. It feels as though every actor understands what they are talking about. Perhaps this is that much-discussed Chekhovian “inner action” — the pauses, the things left unsaid, the gestures — and the production moves as life itself moves, one scene flowing smoothly into another, its rhythm as steady as a metronome.

Yulia Zu, Musecube

At his home theatre, the Pyotr Fomenko Workshop, Kirill Pirogov has staged Chekhov’s The Seagull — a somewhat dark yet striking production. It has no special directorial “seasoning” or innovations, yet it is not archaic; it is substantial and measured, yet neither ponderous nor heavy, but light and at times even humorous. Its casting may seem predictable, but it is not without surprises.

[…] Strangely enough, all this gives the production its particular flavor. There is a peculiar rhythm and meaning in its measured, unhurried movement. It remains fascinating to follow the Brownian motion of the characters even when you know in advance who will say what. And yet, performed by these familiar and remarkable actors, Chekhov’s text sounds for the most part fresh and vivid.

Pavel Podkladov, International Theatre Institute

Galina Tyunina is equally brilliant as Arkadina, as though she had been born for the role — utterly organic and sincere. Imperious, tough and entirely naturally (and not even irritatingly!) self-absorbed, she hurts her son not deliberately but almost playfully, as though she simply does not notice what she is doing.

[…] Treplev, played by Rifat Alyautdinov, who had not yet even graduated from GITIS, remains an infantile, vulnerable and unrecognized writer even two years later in the second act. Casting a student in the role was the right decision by Pirogov; indeed, the intelligent casting of types becomes one of the production’s most obvious strengths, making the Fomenko Workshop’s Seagull above all an actors’ production, restrained in its direction.

Yulia Zu, Musecube

Galina Tyunina’s Arkadina, magnificently dressed in a succession of trouser suits, is completely in command, despite the fact that every summer she is refused the horses. She seems to know everything in advance, calculating both her own actions and words and those of everyone around her. […] Galina Tyunina plays the long three-part scene of the third act brilliantly — first with her brother, then with her son, and finally with Trigorin.

Pavel Podkladov, International Theatre Institute

Opening night: May 28, 2019

Running time: 3 hours with one intermission

Upcoming Performances:

Ticket price range: 1000—30000 rub.