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Since Ive been here from August 8th and will be staying past the production end on the 26th (obviouslyfor those of you who still dont know, Ive moved to New York for about a year) I have decided to start my Seagull diary, which I will continue to add installments to along the way.

As Im sure youve heard, the Delacorte Theater is an open-air house right beneath the flight path of JFK, which you would certainly hear throughout the night, without leading into much vexation. I must have been one of the last planes to fly over the theater on Wednesday night; around 10.40 pm the pilot announced we were over Central Park, and as much as one might have wanted to believe, there was no way to estimate which part of the park you were over.

What a shock it was, first at my one and only transfer in Minneapolis, to deboard the highly air-conditioned plane to physically be knocked back by the 96-degree weather. Ha, and I thought San Diego was getting too warm. It was more of the same when I arrived at Kennedy airport, landing around 11 pm, but delayed on exiting the plane since they couldnt get the gate in the extended hallway to open. They ended up pulling the plane 20 or 30 feet back and pushing a latter up to the door for us to climb down. It was kind of cool thoughI mean, Ive always thought it would be very movie-like to get off the plane like that, so already, it was one to-do thing I could cross of my list of future aspirations. (Yes, Im far more pleased by the smaller, more common or plain things.) The temperature was down to the mid-80s, but the humidity was high.

Earlier when I left San Diego, I had several mini-fiascoes at the airport, waiting in one line only to be directed and wait in another, to be directed and wait in another, etc. Plus I was worried about my cargo, which weighed in excess of 100-pounds (of a 44-pound maximum), but mercifully, the guy didnt check and tossed my stuff in. Now I had to lug my stuff around (one backpack on my back, one on my front, rolling my Mafia bodybag-sized suitcase in my left hand, and my other suitcase in the right) out to find a taxi, and as much as Im not afraid of New Yorkers, choosing my taxi is a more specific ordeal. Here you have all of these guys standing outside with unmarked cars, trying to pull you one way or another, but I went with a TaxiVan so as to better fit my luggage. I got home, dropped my stuff off, sat down and tried to cool off in the air conditioning for a couple minutes, and then took a cab down to the Broadway/East New York station.

To be continued...

The seats were excellent. I had brought my binoculars and would use them on and off throughout the night. (Like Floothe mentioned, it was impossible to see still with them, so his earthquake description adequately sums up what I was thinking of as Blair Witch vision.) The set-up of the stage was already very impressive and elaborate, yet still simple. On the right-hand side was a sizeable chunk of the estate. Bushes, shrubbery and trees encompassed a lot of the background area and carried over somewhat into the foreground. In the center was a dinky stage with curtains, further behind that, Turtle Pondwhich doubled as the lakebenches for the preliminary performance with Nina, and off to the left was a swing and an old-style love seat.

Upon the first sight of Natalie, using my binoculars to watch for her galloping entrance via horse, I was taken over completely by goosebumps. It was an exciting moment, and she entered with such jubilee. Often Id find myself paying more attention to watching and following her than where the action of the play was directed. (I was watching through the binoculars when she changed outfits upon arrival onstage, and I guess thats where you get a glimpse of her chest because of the loose-fitting blouse. Since that night, she seems more careful not to do that, and when she swings, you can see she wears other things underneath the skirt so as to prevent the lookie-lous who commented on it in the first place. You didnt need binoculars to notice that.)

The play itself is a first-rate production. According to some of the stories I read about how Nichols directed, his dutiful work may seem a little dubious particularly since he let the actors make so many of the decisions themselves (blocking, etc.) But not to knock him, I couldnt have hoped for more. The Seagull is my favorite work by Chekhov, and given the right cast, its as exciting to watch as it is to read, and being a modern author, Chekhovs inclusion of humor is so prevalent and subtle, but very accessible, and the cast in question doesnt have any qualms about playing it right. I seem to be the only person who thinks so, but I really dont care as much for Tom Stoppards rendition. He tends to modernize certain things, make the humor a bit overly accessible and trendy and he feels the need to leave his mark on it. The best translation I have read of The Seagull is Eugene K. Bristows interpretation. His differences seem to be the most innocuous. Anyhow, I do have some complaints and discrepancies with Stoppards re-working, but I can live with them, and they arent enough to make a tirade over.

The pacing is down for the most part very well. Only in the final actthe most important onedoes it seem a little slower than the rest. When reading the play, its a whole different feeling. But the natural humor, Chekhovs humor, displays itself apropos and the riposte bantering between the characters is very surreptitious. Theres certainly a fluidity in Chekhovs writing of dialogue that is present and employed when it is as the spoken word as well; the compositions of verse and syntax feel as though you can swim through them. (One change that I do love from Stoppards version is the name-calling between Kostya (Philip Seymour Hoffman) and Arkadina (Meryl Streep). The digs that Stoppard has changed it to seem much more appropriate than any others I have seen, including Bristows.Comedienne! Critic!)

Hoffman is an unusual choice for Konstantin, but he works quite well. His suggestion of melancholy is very palatable and the way he conveys his emotions is extremely clear. In one of the reviews I read, they criticized him for being too whiny and sad from the start, so as that during his deconstruction, its less subtle and less powerful, and I do agree with that to a point. But Hoffman makes you feel sorry for Konstantin, because, at least I think so, hes cheated, hes wronged. Hoffman never made him too pathetic, which would have been overkill and prevented any catharsis with him, even though he may act like a baby sometimes. But come on, you know how that game of love goes. When he speaks to Nina and then realizes that Trigorin is nearby and says something along the lines of The/his rays of sunshine havent even touched/warmed you yet, and youre already smiling. The jealousy is so understandable! Being a heavyset guy, you might be surprised to know that Hoffman isnt a very large man. I think his frame is actually a lot smaller than his appearance on film might suggest. Sometimes I found him to put the emphasis on the wrong places in his lines, sometimes numbing them out in a monotone, and every once in a while he would over-compensate, but his was a good piece of casting.

Meryl is everyones baby. Thats the way the newspapers are playing it, and thats the way everyone is playing it. Even me. The Seagull is her show, and every-damn-body ought to know it! Seeing her live really impresses upon one how amazing and talented of an actress she truly is. I have never been a large admirer of hers, but she is so spectacular here, it would change anyones opinion. Her physicality (the highly publicized cartwheel, and then the equally as hilarious knee-grabbing and breast-feeling readjustments she makes to assure herself that she is still in one piece), her articulation and emotionit is a wonderful thing to experience in person. Streep is impervious to criticism! The role of Irina Nikolaevna was a pre-made prescription for Streep, and in turn, she makes it hers. I would be extremely hard-pressed to come up with anyone who I could even flirt with the idea of playing the role as perfectly.

Irina might be the best and most fun-performed character, but the most important, complex and difficult role/character is Nina. Most have said the same thing inasmuch as it is so true. Its an unenviable challenge, but one that lends the actress, in a commendable performance, much rank and respect. Age and experience in theater is something that critics look at from the bat. But to me, it is so much more important to have someone more realistic portraying a part rather than having a more experienced, but less believable actresses assume the role. The fact that a 20-year-old is playing Nina, who goes from about 18 to 20 over the course of the play, is a step in the right direction. By casting Natalie, it seems an impeccable choice. And, pound for pound, what they get is probably the best one could ask for. Try to think of any other actress within a similar age range, and it is extremely difficult to come up with a suitable switch. Cmon, Sarah Michelle Gellar, Eliza Dushku, Thora Birch, Scarlett Johansson, etc? No way! Inch for inch, talent for talent, the only other actresses that I posit might have the talent to properly assume the role, would be Christina Ricci, Sarah Polley and Julia Stiles.

Anyway, there is an amazing demand on whoever is in the shoes of Nina, and it happens that our beloved Natalie Portman has attempted to fill those shoes. She does an astonishing, amiable job with the assignment. Portmans being of Nina, her formation of a separate entity is there, yet it is still fused with Natalie herself. Its like theres a split between the two, and on Ninas way out of Natalie, Nina has stolen some of the belongings, the gestures, the sounds. Most notably, the wild, wicked and possessed giggle/laugh. Its ebullient, its dgag, it seems as though it is truly unforced. The first three acts seem as though they come naturally to Portman, a piece of cake, a role in the dirt. And as shes smitten for Trigorin (Kevin Kline), theres a certain lustiness, lickerousness that is undeniable. The second night I saw the show, her kiss with Kline/Trigorin was extraordinarily erotic. Not to say the other nights it was dull, but there was something about their movements, the magnetism, the fortuitous nature of the kiss that made it so remarkable. The last act is very difficult, where the demands become very harsh, for thats when time has passed and Portman must transmogrify in front of you without the help of any editing, without given the chance for take after take or heavy preparation. Shes required to breakdown, repeatedly, after small recoveries. No, she is not perfect, but yes, her age and experience (or lack thereof) is something that makes a difference. But, is it a difference that hurts her or her portrayal of Nina? No, I dont think so. I think, though, that she still can do better. And that she will get better. But as I go into more detailed accounts about each day, Ill digress more into the separate performances.

Marcia Gay Harden as Masha is definitely one of my favorites. Shes so humorous, both Harden and Masha, and the way Chekhov wrote the character is so masterful. One of the original, true gothic personalities. The character could so well translate into our times. Harden has wonderful timing and a wonderful voice. Masha, like Nina, is supposed to be very young22. Harden is older than that (from a blurring distance you cannot tell, but closer, or with binoculars it is apparent), but her youthful, clear and beautiful voice, in addition to her wonderful acting, lend her a lot more credibility. Portman, too, as this has been pointed out on several occasions, has a rich, sonorous voice. Its something that watching her in a film, you dont get the full benefit of. And it is something I think that should be made a deal of. Both voices are a thing of beauty, though Portman commands so much singular attention for hers. Back to Harden, as much as I like Allison Janey who originally was to be Masha, I think Harden is by far the more preferable and superior choice.

The best performance by a male character is Larry Pine as the doctor. Im very offended by the review in The Daily News that called him bland. This is my first introduction to Pine, as I have found no film credits for himan exclusive stage performer. Thats good and badgood that Hollywood cannot corrupt one more talent, and that those who follow him do not have to fear an overexposure to him and his career like Episode I has somewhat done for Natalie; but bad because he really is that good and people deserve to see such a talent. Pines performance of Dorn is calm, formidable (in the all-powerful sense) and very mature. The cadence of speaking, Pines diction, his articulation is so eloquent and unforced. His sophistication commands a lot of reverence and it sets him on a high perch. I think it also makes his character a little more important because of it.

John Goodman and Christopher Walken are fun to have aroundfun people having fun in their roles. There is not any strenuous demand on them in their parts, but they add and liven up two characters that easily could sink into nothing but wallflowers. They, too, are memorable, if for nothing more than being aberrations to the point of their characters. Kevin Kline ends up being a bit restrained as Trigorin. Sometimes it felt as if her werent given enough to do. He moves around with plenty of finesse on the stage, and the dialogue sounds good coming from his mouth, but sometimes it feels as if there is a bit of feeling absent. Some of that I think has to do with Stoppards tinkering, but then there are passages where Kline is gleaning.

Debra Monk is fine, though underused (firstly as a character, secondly as an actresses, which is a tougher call at least for me being more unfamiliar with her work). The one big piece of miscasting is Stephen Spinella as the schoolteacher Medvedenko. His voice is too sloppy with a bad ring, his gestures are forced and mannered and he seems all-wrong for the part. Spinella makes the character annoying (more pestering than he should me) and dull. At first, he made Medvedenko seem like he was gay, and I thought that it was wrong since he was supposed to fawn for Masha. His gestures and his deportment worked against him. Then I read in an interview where he states, My boyfriend said, and so that answered that wonder. They needed an actor more mature, probably slightly older too, as Spinella looked like a teenager with a moustache.

One of the complaints I read in various reviews was that the styles of acting were too different. While it might have seemed a tad haphazard, I think it worked for them. The actors styles are allquite understandablydifferent, but its towards their advantage since that fills in the distinct colors of each individual character. It helps to flesh them out. Going in, I wasnt sure if the play was going to be put on using Russian accents, but they dont. The only thing that hurts it on occasion, in terms of efficiency and working standards, is the fluctuations in some of the performers locutions. Namely Walken, as SorenIrinas ailing brotheralong with his New Yawker accent, it tends to stick out and call attention to itself. But even with that, for the most part, the acting of all is very untheatrical (except Spinella, and sometimes purposefully Streep). In other words, more realistic. Untheatrical acting in a theatrical atmosphere may sound like a tautology, I realize, but its for the better in my opinion. What I mean to say is, is that when performing in theater, actors are encouraged to over-act, to go big, to reach the stars. But, yknow, I tend to like mine a little more sedate, a little more realistic depending on the circumstances. Big is acceptable in theater, and it doesnt bother me. In film is where it is virulent, discouraged, and flag-wavingly recognizable. And with film being my forte, with what I am accustomed to, I can admit that that is how, from an angle, I viewed this play. In any case, the presentation and styles of acting is an asset to this production. Mike Nichols production of The Seagull is easily something one can set their standards of excellence to, but something that will be hard to find ersatz to live up to that criterion.

End of review

That night was quite an exciting one. One could have easily seen that I got a rush from it. And that first performance affected me the most, at least in progression to the end, as I felt choked up and chilled by Konstantins suicide, an innovative effect I might add. I liked that it was an open-air theater, providing ample mini-interruptions in addition to the planes, such as police sirens (no, no gunshots in the park though), a flash of lightening (more so second night), etc. And there were coincidences, too, like Masha referring to the stifling heat, only for the audience to laugh at the parallel to the current nighttime temperature. Or when one of the characters predicts a stormone night really only escaping it, another night following oneor the incidentally random fluke of the characters complaining about the strong wind only for the natural wind itself to be carrying on with the trees, etc. Like the title for the upcoming movie, they were all Happy Accidents.

I had read on several sites how they met Natalie afterwards and had her sign this, or tried to take a picture to no avail, but that night I wasnt ready to try. More recent reports said she doesnt come out anymore. I had ideas for some other way and wasnt ready to meet her yet, so I waited outside of Gate 1 with some stills of the actors from my boatload of press kits. I saw and approached John Goodman first, who really is quite largeboth in the weight and height departmentsbut also very shy. Somewhere online, in relation to the transferring possibility for The Seagull to go to Broadway, I remembered reading that Goodman wouldnt because of his intense fear of live audiences. His coyness was very apparent, sweet in a way if you think about it, so nervous that he didnt take the cap off of my pen. (Maybe I was breaking some unwritten rule that states Thou shalt uncap thy own feathered tip to receive an autograph.) He was about to take off and apologized, but then outstretched his hands and signed the picture from The Big Lebowski. (But he signed on the bottom half which was of the Coen Brothers, as opposed to the top one of him and Jeff Bridges.) I also met Marcia Gay Harden that night, so incredibly nice, as she walked her bicycle out from the gate along with her two-woman entourage. I wasnt going to stop her, but someone else did, so I brought over my picture of her from Pollock and was able to talk to her for a little bitparticularly since she was born in San Diego (La Jolla to be exact), too.

An exhaustive night, Cal and I parted ways near the bathroom; me getting ready to take the subway home, she getting ready to get right back in line. We planned to meet the same place and time as we had that day, as I was going to try and get tickets from one of the borough locations.

I had forgot my binoculars that night, but the seats we had didnt really require them. Otherwiseunless it was your intentionit made it hard to focus on the action of events, not allowing you to see much else except for the quarter-frame of the person you saw. And for the second night in a row, the second I saw Natalie riding up and dismounting off from the horse like a Power Ranger, I was covered in goosebumps! Pure excitement, I suppose. To be able to see her move so aqueously, so free from close-ups and cutaways in films was totally a privilege. That voice of hers, too, so heavy and forceful, but graceful and melodic at the same time! I dont know what it was that night, possibly because of the rainfall earlier, but a couple of the microphones connected to the sound system were acting up. Of course it happened to Natalie first, and would kind of do these mini-shorting out sounds, causing her to sound spotty. I admit, I felt worried at first because I didnt know it her microphone was going to stop altogether or what. And naturally, I felt bad because it was her of all people. But it did not seem to phase her at all, and she continued with excellence. There were a couple of other sound gaffes, the same thing happened to Kline, and a couple times, several of the actors didnt have their mikes turned on in time, so you might not be able to really hear the first few lines of dialogue. Aside from that, it was a-okay!

I was also watching for particularities, not necessarily with Natalie, but things that I enjoyed or may have missed the beginnings of the night before, like when Konstantin shot himself. Or, theres a point when Streep is laying on the hammock, she stands and compares how much more beautiful she is than Masha who sits and does nothing, and then she herself lays back down to do nothing. But the first night, as she went back down, she wobbled around and reacted appropriately, suggesting that it was something planned out. Its hard to describe, considering how the humor itself is derived from the actions, so I guess you had to be there. But she didnt do it that nightor, as a matter of fact, any night sinceso that leads me to believe it was an accidental slip/wobble, but Streep covered it up, in character so well, the only way to know it wasnt pre-planned was to have seen it again. And again, when Natalie would laugh her crazy/possessed laugh, it sent chills up my spine, and I couldnt help but laugh aloud. It usually gets the same reaction out of the audience as well, no matter how many times she does it. Along with her actions of chagrin, for example, when Nina is introduced to Trigorin and he kisses her hand, she responds effusively with nervous laughter and apt gestures of clunkily fumbling and twisting her arms, or tugging at her hair from behind. Its adorable, it not only seems, but it feels natural, too.

Cal had pointed out earlier than Laurence Fishburne was in the audience that night, in a red shirt very near the front. During the intermission a lot of people walked up to him and asked for autographs (not just limited to, but definitely including young women) and some guy he must have known gave him a hug and kissed the woman he was with. Cal also thought she recognized a couple other people, but I dont know if they were ever confirmed.