‘SEAGULL:TRUE STORY’: (left to right) Eric Tabach, Elan Zafir & Andrey Burkovskiy. Photo: Kir Simakov.

SEAGULL: TRUE STORY
By Eli Rarey
Created & directed by Alexander Molochnikov
Through May 3, 2026
LuEsther Hall at the Public Theater
425 Lafayette Street
https://publictheater.org/productions/season/2526/seagull-true-story/

By Scott Harrah

Seagull: True Story ranks among the most topical productions now playing in New York, following sold-out runs in 2025 at New York’s La MaMa and London’s Marylebone Theatre. It reflects the grim realities of war in both Ukraine and the Middle East in 2026. However, it avoids being a straightforward political drama. Instead, it filters these tensions through a darkly comic and theatrical lens.

From Russia, with no love lost

Alexander Molochnikov creates and directs the production, while Eli Rarey provides the script. Together, they draw on real-life experience. They reshape it into something surreal and meta-theatrical. In Moscow in February 2022, Kon (Eric Tabach),  a young director, attempts to stage The Seagull as political forces close in and the “special military operation” in Ukraine unfolds. As a result, the lines among art, identity, and survival begin to blur.

As a result, the piece feels immediate and disorienting. War does not sit in the background. Rather, it invades the creative process. It shapes what artists can say, who can speak, and what risks they must take.

Performing on the edge

The ensemble handles the shifting tone with precision. They move easily from satire and drama to absurdity.

Most notably, Andrey Burkovskiy dominates as the emcee. He steals nearly every scene. His manic delivery, sharp timing, and fearless physical comedy drive much of the show’s momentum. His pratfalls land perfectly. Moreover, his farcical take on a Russian entertainer feels both hilarious and pointed. The irony adds another layer, since Mr. Burkovskiy himself is Russian.

In addition, he delivers a series of rapid transformations. At one moment, he plays an American producer. Next, he appears as a shirtless Vladimir Putin riding a horse. Then, he dances wildly at a disco. These moments heighten the show’s absurdist edge and keep the audience off balance.

Meanwhile, Eric Tabach anchors the production as Kon. He plays the director who risks everything by leaving Russia (and his work behind) to pursue freedom in New York. Mr. Tabach brings clarity and emotional weight to the role. As a result, he grounds the production’s more chaotic elements. He captures both ambition and loss with precision.

Similarly, Zuzanna Szadkowski delivers one of the evening’s most moving performances as Olga, Kon’s mother. At first, she appears cold and demanding. She plays an imperious Arkadina in The Seagull. She criticizes her son and rejects his decision to leave Russia. However, her emotional distance gradually softens. After visiting him in New York, she begins to understand his choice. In the second act, Ms. Szadkowski reveals remarkable depth. Her performance becomes layered, intimate, and deeply affecting.

Meanwhile, Gus Birney brings vibrant energy to Nico. She captures the spirit of a restless, bohemian actress searching for purpose. Ms. Birney blends spunk with emotional openness. Consequently, Nico feels authentic rather than idealized. In her final scene with Kon, Ms. Birney delivers one of the production’s most powerful moments.

Finally, Elan Zafir creates a haunting portrayal of Anton. His performance builds with quiet control. As the character’s fate unfolds, Mr. Zafir underscores the production’s darkest themes. He avoids excess and instead delivers a restrained, deeply human performance that lingers.

The ‘Method’— and the madness

The pacing feels deliberately frenetic. At times, it becomes experimental. Occasionally, it turns interactive. For example, the emcee invites the audience to shout a two-word expletive (best experienced live).

At the same time, the production moves quickly across locations. It jumps from Moscow to a Manhattan subway station to a Bushwick loft. These shifts create constant motion. They also mirror the instability within the story.

Even so, director Alexander Molochnikov maintains control. He keeps the production cohesive, even during its most chaotic moments. He also draws strong performances across the ensemble. In addition, he makes the most of Eli Rarey’s clever and thought-provoking script, even when it feels messy or fragmented.

At first, this reviewer approached the production with hesitation. Chekhov has never been a particular favorite. A prior Broadway Seagull starring Kristin Scott Thomas left a lasting impression, particularly for its plodding pace. However, this production quickly shifts expectations. Rather than revere Chekhov, it challenges him. It pokes fun at The Seagull. At one point, a female character named Pickle (Keshet Pratt) pointedly asks of Chekhov, “So we’re just worshipping at the feet of some dead white male author?”—a line that neatly encapsulates the production’s irreverent stance toward theatrical tradition. The play also sends up the traditions of the renowned Russian theater practitioner Konstantin Stanislavski.

At times, the production may remind audiences of Cabaret. In both works, performance unfolds against a backdrop of political unease. Likewise, the presence of LGBTQ identity within a repressive environment adds urgency. In particular, a gender-bending character named Gorgeous (Ohad Mazor) appears in androgynous clothing—something that would likely not be tolerated in Putin’s Russia, where even expressions of gender nonconformity are policed. These elements deepen the emotional and political stakes.

The price of freedom

Ultimately, Seagull: True Story succeeds because it balances urgency with invention. The script feels sharp and incisive. It confronts difficult realities without losing its sense of humor.

At the same time, the direction remains innovative and controlled. Together, these elements create a production that feels both timely and surprising.

In a season of familiar titles, Seagull: True Story stands apart. It speaks directly to the present moment and the price of freedom. More importantly, it asks why—and how—we continue to create art during times of crisis.

Published March 31, 2026
Reviewed at press performance on March 28, 2026.

‘SEAGULL: TRUE STORY’: Elan Zafir & Gus Birney. Photo: Kir Simakov.

‘SEAGULL: TRUE STORY’: Eric Tabach & Zuzanna Szadkowski. Photo: Kir Simakov.

‘SEAGULL: TRUE STORY’: Andrey Burkovskiy. Photo: Kir Simakov.

‘SEAGULL: TRUE STORY’: Eric Tabach & Elan Zafir. Photo: Kir Simakov.

‘SEAGULL: TRUE STORY’: Gus Birney. Photo: Kir Simakov.

‘SEAGULL: TRUE STORY’: Elan Zafir. Photo: Kir Simakov.

‘SEAGULL: TRUE STORY’: Ohad Mazor, Myles J. McCabe & cast. Photo: Kir Simakov.

‘SEAGULL: TRUE STORY’: The cast. Photo: Kir Simakov.

The post ‘Seagull: True Story’: War, art & censorship appeared first on StageZine.

‘FAT HAM’: (Left to right, clockwise): Calvin Leon Smith, Nikki Crawford, Billy Eugene Jones, Benja Kay Thomas, Adrianna Mitchell & Marcel Spears. Photo: Joan Marcus.

FAT HAM
Written by James Ijames
Directed by Saheem Ali
Through July 2, 2023
American Airlines Theatre
227 West 42nd Street
(212-719-1300), www.FatHamBroadway.com

By David NouNou

There is a lot to process in James Ijames’ 2022 Pulitzer Prize-winning play, Fat Ham. There is a lot of fat and gristle to go through until you get to the meaningful middle, and that’s Marcel Sparks as the delicious Juicy.

Since there is no curtain, as one walks into the American Airlines Theatre, the setting is a backyard, somewhere in the Black South replete with tables, folding chairs and a barbecue smoker. In the middle of this set is a wreath with Pap’s picture in the middle. At the onset Juicy and his childhood friend Teo (Chris Herbie Holland) are chatting away and setting up decorations for a backyard party. Pap, Juicy’s dad (Billy Eugene Jones), died last week, and Juicy’s mom, Tedra (Nikki Crawford) has just gotten married today to Rev (again Billy Eugene Jones) who happens to be Pap’s brother, and Juicy’s uncle. Hence the preparations for this festive barbecue.

During setting up, Pap’s ghost appears in a white suit and smoke billowing from his shoulders, and he wants Juicy to avenge his murder by the hands of Rev. This sets up the narrative/comparison to Hamlet. Pap taunts Juicy for being “soft” (gay) and doesn’t have the courage to do it. At this point, Juicy breaks the fourth wall and addresses the audience. Both Pap and Rev have been mean to Juicy while growing up and never gave him the respect he deserves. It also gives Juicy his conscience and dilemma—at what point does one break the cycle of meanness and killing and stand up for one’s own principles and convictions as the kind and sweet-natured man Juicy is?

There are more people arriving to this barbecue: Rabby (Benja Kay Thomas), Tedra’s loud church lady friend and her two children, Juicy’s childhood friends: Larry (Calvin Leon Smith) and Opal (Adrianna Mitchell). Besides Juicy being “soft,” every character has a secret that can’t be revealed till a crisis has to eventually emerge.

There are parts that seem contrived and stereotypical, but at the center of it all is Juicy. A wonderful young man who is kind on the inside, has a heart and a mind and cares about everything and everyone, and who is determined on the outside. Marcel Sparks is the embodiment of Juicy. He infuses life into this complex character and gives him dimension to lift him up from his everyday life and surroundings.

Everyone else gives an over-the-the top quality to their performances that is not always honed, fine-tuned or reined in by director Saheem Ali. The performances are outrageous and all over the place. They lack the discipline Mr. Sparks has given to Juicy.  Despite its shortcomings, Fat Ham has many funny moments and has a lot to say about family ties and adjusting to one’s own true self.

Edited by Scott Harrah
Published April 17, 2023
Reviewed at April 16, 2023 press performance.

‘FAT HAM’: Adrianna Mitchell, Chris Herbie Holland & Marcel Spears. Photo: Joan Marcus.

‘FAT HAM’: Marcel Spears & Calvin Leon Smith. Photo: Joan Marcus.

‘FAT HAM’: Marcel Spears & Billy Eugene Jones. Photo: Joan Marcus.

‘FAT HAM’: Adrianna Mitchell & Benja Kay Thomas. Photo: Joan Marcus.

‘FAT HAM’: Marcel Spears & Nikki Crawford. Photo: Joan Marcus.

‘FAT HAM’: Marcel Spears & Adrianna Mitchell. Photo: Joan Marcus.

‘FAT HAM’: Marcel Spears. Photo: Joan Marcus.

‘FAT HAM’: (Left to right): Nikki Crawford, Billy Eugene Jones, Benja Kay Thomas, Adrianna Mitchell, Calvin Leon Smith & Marcel Spears in front. Photo: Joan Marcus.

The post ‘Fat Ham’: Family ties & secrets revealed appeared first on StageZine.