Gaviota

It's not La Gaviota that's being performed, but Gaviota. As if the enfant terrible of Argentine theater were already indicating that he was offering his "seagull", his version, built between the health crisis and Javier Milei's rise to power in his country. For all that, Chekhov's language remains the basis of this immersive show in which Nina still dreams of being an actress, Konstantin loves and loses her, Trigorin plays on his status as a writer to seduce Arkadina and Masha observes the dramas to come...
All played by women, these characters have a drink, nibble or reread notes at a central table around which part of the audience is also invited. Guillermo Cacace delivers a respectful, even admiring reading of Chekhov's work. In a small space for a hundred or so spectators, he gives it its full melancholy and deeply moving power. Entrusting it to Spanish-speaking actresses reinforces its veracity: from Buenos Aires to Moscow, the pain of living, the pain of loving are the same.