‘We need the theatre, couldn’t, couldn’t do without it. Could we?’: Carleton produces Anton Chekov’s The Seagull, adapted by Anya Reiss
As the Carleton Players gear up to perform The Seagull, cast and crew reflect on the show, its meaning, and why audiences should come see it.
A young woman cut off from her family and looking for love, a young man desperately trying to leave his mark on the world, a celebrated author who hates his own writing, and a famous actress who is feeling the instability of her career all find themselves spending the summer at an island estate, far from the city and stuck with each other. Romance, tragedy, and feuds bleed out of every scene in this deeply poignant work, adapted by Anya Reiss from the original by Anton Chekov.
Jeanne Willcoxon, visiting assistant professor of theater and director of The Seagull at Carleton, revealed that when the 2025–26 season was being planned, Chekov’s works were highly suggested to fit this year’s theme of “transformation.”
“It was important to me to also get another voice in the mix with Chekhov,” Willcoxon said. “I knew of Anya Reiss’s version of the play, which she wrote in 2012. I felt that she was absolutely true to the spirit and text of Chekhov, but, by placing it in the present day, made it a more immediate experience for our audience. Plus… I love The Seagull!”
Willcoxon, from the first cast meeting to the present, keeps turning to one quote to explain what makes Chekov’s plays so striking:
“Philosophers are interested in solving problems, whereas … with Chekhov there’s no resolution at all. Fundamentally it’s going to be about the quality of your stamina, your perseverance. The question is, what kind of strength, what kinds of resilience are you going to be able to muster in order to make it until the worms get your body?” (West, Cornel. “The Poet of Catastrophe.” Chekhov in Context, Cambridge University Press, 2023, xxi).
Resilience is the theme of The Seagull for Willcoxon, who finds meaning in the play’s “necessity of endurance,” and how the constant, unrequited love in the story is “where both comedy and tragedy emerge.” However, for her, the characters are the real heart of the story.
“The beauty of Chekhov [is that] it is a true ensemble of characters, in that each one has a story, has psychological depth, has a struggle,” Willcoxon said, adding that “the characters are also so engaging and run the gamut from a poor schoolteacher to a famous Broadway actress.”
The eccentric characters of the show are also a strong point of resonance for the actors. Jack Bartlett ’27, who plays Trigorin, finds the characters’ deep and tragic flaws to be compelling, and has enjoyed getting to play as — and alongside — characters with profoundly interesting personalities.
“From the first time I read this show, I was really, really excited to play Trigorin,” Bartlett said. “The way that he goes about the world and the … way he struggles with the world around him and the way he fails to deal with the way the world treats him … speaks to me a lot. I’ve never gotten the chance to explore a character like that. I’ve never gotten the chance to explore a character with this depth.”
Kaelyn Rothe ’26, who plays Masha, feels that the character depth and theme of resilience will resonate with audiences.
“In every character, there’s something that they want, but they can’t have; or an experience that they have that an audience member will have had,” she said.
Focusing on the theme, Rothe was particularly struck by “the unrelenting capacity to survive, which I think is really interesting,” she said. “Keep going, keep living, despite all of these tragic things that are happening. It’s really interesting how much [Masha] keeps fighting for what she wants and how that spark eventually dies.”
So, why should audiences come see the show? As it turns out, there’s a lot of reasons!
“The genius thing about Chekhov,” Willcoxon said, “is that he is tackling all these difficult subjects that are so central to all our lives, but the play is also wonderfully funny and moving!”
“This is a show that we haven’t had in a while,” Rothe added. “We haven’t had a contemporary piece like this. We haven’t had a classic like this. It’s a new opportunity for actors here to do something that’s kind of timeless.”
Speaking of the actors, Bartlett said, “[There’s] some really strong actors in this one. I mean, in terms of average skill level, average acting, I think probably the best.”
“And a couple people who have never acted at Carleton before,” Rothe added.
“Yeah, some real bangers out the gate,” Bartlett said. “If you want to see some of the best actors at this college doing some of their best work on a really fascinating piece with a lot of fascinating characters who have ten different journeys, then come see The Seagull.”
Willcoxon feels similarly.
“I am very lucky to have a hugely talented group of students, staff, and professionals working on this play — not only on stage, but in our shops, building sets and costumes; on our design teams with lights and projections; working publicity and box office; and by my side as stage managers,” she said. “I don’t think people realize how many people it takes to actually create a show, as you just see those incredible 10 actors on stage, but come to the show and look at your program and you will see that it really takes a village to create a performance!”
The Seagull will be showing October 23–25 at 7:30 p.m., and October 25–26 at 2 p.m. in the Weitz Theater. Visit Carleton’s Theater + Dance website to reserve your free ticket(s) before they run out!
