Seagull: True Story ★★★

The title of Seagull: True Story proves to be something of a misnomer, as it is neither Chekhov nor entirely true. Created and directed by Alexander Molochnikov, with Eli Rarey credited as playwright, the piece now playing at The Public Theater dramatizes Molochnikov’s experience of emigrating to the United States after speaking out against Russia’s 2022 invasion of Ukraine. Rarey thus bears the challenge of shaping a deeply personal and politically charged narrative into theatrical form.

The first act unfolds in Moscow, where Molochnikov’s stand-in, Kon (Eric Tabach, solid), is directing his wild adaptation of Chekhov’s The Seagull — briskly summarized for the audience — at the Moscow Art Theatre. The production soon faces governmental interference in the form of mandated “adjustments,” and the company must tread carefully in public, even avoiding the word “war,” a linguistic tightrope that resonates far beyond Russia. When Kon makes the impulsive decision to send a video criticizing the regime to a few friends, it somehow goes public, forcing him to flee on opening night, leaving behind his production, his mother Olga (Zuzanna Szadkowski), an acclaimed actress playing Arkadina in his staging, and Anton (Elan Zafir), the show’s soulful dramaturg.

Intermission serves as Kon’s travel time to New York, and the second, longer act sees him, almost immediately upon arrival, land a meeting with a renowned producer — a contact of Olga — and a girlfriend he meets cute on the subway, Nico (Gus Birney). He may be penniless, but he’s lucky — at least for a while. Things don’t go as planned or hoped in the commercial landscape that is Broadway, and no one really seems to care how well he was doing in Moscow before his departure. With Nico’s encouragement, he ends up directing what looks and feels like an edgy, parodic Seagull in Brooklyn with a cast that uses terms he’s never before encountered in rehearsal: triggers, toxic behaviors, non-violent confrontations, etc., proving that such tightropes can go in both directions.

Seagull: True Story is, at heart, a classic immigrant story, but it never fully fits that bill, as Kon has connections and advantages that few newcomers possess. That privilege isn’t inherently a problem — many artists in New York sustain careers without ever worrying about money — but for all Kon speaks about wanting to direct his dream production of The Seagull, it’s never entirely clear why he wants to do so. Beyond professional ambition, what about Chekhov and this play speak to him so deeply? Without a convincing answer, the overly long piece begins to tip into self-indulgence.

Moreover, narrative surprises are in short supply. Scenes depicting Kon’s nightmares—one featuring Putin on horseback is particularly striking—momentarily lift the production, only to be pulled back down by the expected, as well as some uneven acting choices and occasional sound issues.

The women in the cast fare best here. As Kon’s mother, Szadkowski brings a simmering intensity and practicality that stands in sharp contrast to nearly everyone around her. And Birney, the highlight of Our Class at BAM and Classic Stage Company, once again brings her singular, almost magical presence to her every scene; Tennessee Williams would love her were he still alive.

Seagull: True Story has a compelling play-within-a-play structure that only works intermittently. Molochnikov brings a unique, energetic perspective, and it’ll be interesting to see what he comes up with next. One suggestion: skip the framing device. Just give us The Seagull, fully his.