THE SEAGULL / THE HAMPTONS is an American adaptation of the Chekhov classic. Productions of this highly acclaimed adaptation has included the stage debut of Laura Linney. Other cast members have included DB Sweeney, Marin Hinkle, Tammy Grimes, Neil Huff and Carol Lynley.
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THE NEW YORK TIMES
MODERN MISERY IN SEAGULL UPDATE
The characters in THE SEAGULL / THE HAMPTONS are an immediately recognizable bunch of modern-day malcontents. It has a ferocious vitality and brilliant moments that are bold and exciting to watch. Laura Linney’s Nina has stinging force and clarity. She is clearly a talent of enormous potential.
THE NEW YORK POST
UPDATED SEAGULL SOARS
This is a production of The Seagull that speaks to me more than any in my lifetime. For the first time, no matter how deeply I’ve loved the play, or how often in my life I’ve seen or read it, all of the characters are right in the room with me! I’ll never forget Laura Linney’s Nina, a stringy, stunning blonde with an emotional range from scared goose to battered, unconquerable lioness.
THE BOSTON GLOBE
TIMELY TIMELESS SEAGULL – TOP 10 PRODUCTIONS OF 1998
Three cheers for Jeff Cohen who’s Seagull makes timelessness and timeliness seem one and the same thing. The brilliance is in demonstrating the universality of Chekhov’s story that resonates even more. Cohen gets all the laughs as well as all of the tears out of Chekhov. If Chekhov is looking down on all the productions of The Seagull around the world, his smile would be particularly broad for this one.
'THE SEAGULL' FLIES (& HIGH!) IN 'HAMPTONS: '90S UPDATE
Chekhov seldom goes out of fashion. But he is so much in fashion right now that this is almost a testimonial season. Since reverence is the theatrical equivalent of gangrene, Jeff Cohen's brilliant relocation of "The Seagull" to the Hamptons in 1997 is therefore as timely as it is effective. The idea of updating a classic is not new and not always good. When it works, as it does here, it strips away the accumulated layers of cliche and reveals the play afresh. Cohen's version clearly arises from a deep passion for the play. It tries to reveal, not to reduce, "The Seagull.
Cohen has done more than change names and update obscure references. He has thought the play through line by line, reimagining the characters and story. And he's done it with care and subtlety. Without the samovars and the sendups of obscure 19th-century Russian writers, the play becomes both funnier and more shocking. There are some losses. You don't get the sense of a class-bound society that surrounds Chekhov's original. But there are also gains. Cohen can be more explicit about sex than Chekhov could, and the erotic energy of the piece becomes much clearer as a result. Most of all, the actors are able to narrow the distance between themselves and the roles, so that the characters take on a startling immediacy. Marin Hinkle, so good in "A Dybbuk" at the Public, is even better here, giving a glowing performance as Nina. Her transformation from naive ingenue to hardened, world-weary woman is so truthful that even Chekhov, were he around to see it, would be inclined to agree that sometimes there are higher theatrical values than faithfulness to the author's words.
THE VILLAGE VOICE
Radiant, wise and ferociously funny, it’s everything Chekhov fans would want from an idiomatic reimagining.