*Trigger warning: The Seagull does include mentions of attempts and death by suicide.

The limited run for Emilia Clarke’s West End debut encapsulates one of theatre history’s most noted plays. In a modernised adaptation by playwright Anya Reiss and director Jamie Lloyd at the Harold Pinter Theatre, a soft touch is brought to a dramatically dark piece.

Our pre-show is greeted by the beautifully alluring Nina (played by Game of Thrones star Emilia Clarke) as she glides through to the stage from the audience side door. Her ensemble castmates join one-by-one as they gather plastic green school chairs opposing Clarke. She remains facing us, secluded and coddled within herself. The symbolically lovestruck Konstantin (Daniel Monks) lays in agony on the set’s plywood beige floor.

As for the ensemble, glimpses of the amazing cohorts include a familiar lineup: alongside Clarke, we are greeted by Jason Barnett, Robert Glenister, Tom Rhys Harries, Mika Onyx Johnson, Gerald Kyd, Daniel Monks, Sara Powell, Indira Varma, and Sophie Wu.

Traditionally Chekhov, the unified ensemble work cohesively as a unit, creating incredible tone as if they were one character. They paint and transport us to beautiful havens through dialogue against the harsh colours of a wooden plywood set and neutrally toned costume (by Soutra Gilmour). Fluorescent lights neatly cover the stage, highlighting the blocking of actors sat arranged through scene changes in rows or circles like musical chairs.

Arriving at a getaway estate, we meet faded veteran actress Irina, her lover Trigorin – the acclaimed writer, and her son, aspiring surrealist Konstantin.

The ensemble, mixed with the estate’s employees, friends, and family reflect on Konstantin’s newly debuted production he’s written with neighbouring and aspiring actress Nina. Their commentary poses that Konstantin may be out of his depth, misguided, but with potential to break barriers of commercial theatre – a play within a play symbolising what we are presently viewing.

Whilst misunderstood, and arrogantly trampled by Irina, Konstantin obsesses to hit a critical peak with his work, and – more heavily – over the alluring Nina. However, after the production’s debut, Irina dictates the departure of Trigorin, while she’s frustrated with the estate’s guests and workers. Through our additional cast we see glimpses of layering love triangles and illness.

However, the determined Nina takes an opportunity to express to the renowned Trigorin her admiration of his work in a critically connective piece of dialogue.

Clarke and Tom Rhys Harries (Trigorin) are incredibly powerful, dancing between subtle tones and life changing text that harnesses a deep connection, simply through a soft conversation.

We seem to be feeling the definition of true love through exceptionally grounded actors.

Trigorin makes an offer for Nina to lunge into “the city”, reach out to his agent, and fulfil her drive for a meaningful career and creative impact, betraying Irina through this fleeting moment. We come to learn though, that a weak spine can bend in many ways, and though we see the bewildering new romance flourish, an allegiance to Irina still looms.

Stunned by a smoothly directed first act, we return years later. A worn Nina encounters Konstantin after his critical acclaim, her own career’s demise, and to see the results of the estate guests’ life choices.

It is Konstantin’s opportunity to reconnect with Nina, and the opportunity to open up to her results in a dark fate.

A stricken tale of layering love triangles, the need for glory beyond fame, and outbursting commercial and regurgitated art, we are surprised at, again, how history is an endless piece. There is an infinite loop of desperation and admiration, yet we’re gifted with drops of lovely dark humour – an especially great highlight from Sophie Wu as Masha and Jason Barnett as Shamrayev.

Our gifted ensemble unifies as a sole tone, creating soft, intense moments through a modern adaptation of the originally satirical piece.

Could we be more grateful for a cast of talent? An important fable? Simplicity of spoken word? See The Seagull until September 10th, and find tickets here.

Can’t get enough of London’s theatre? Take a look at what else is on in the West End this summer:

Cruise – His Last Night On Earth. An inspirational, albiet heart wrenching love letter to 1980s Soho.

Wonderville – Prepare to expect the unexpected as magic and cabaret return to the West End.

Feature image sourced from Atgtickets