The Seagull, or Why Masha Always Wears Black

Dates and Times

Fri 11 March at 7.15pm

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Presented by ThisIsNotATest

“Smoke a cigar or drink a glass of vodka and you’re no longer you – you’re you plus someone else. The self grows blurred and you start to see yourself as a third person – not as ‘I’ but as ‘[s]he’.” (Dorn, Act II The Seagull)


Masha always wears black.
Maria prefers blue.
Masha drinks vodka and takes snuff.
Maria drinks coke zero.
Masha is in love with Konstantin.
Maria is a married woman.
Masha wants you to know how unhappy she is.
Maria is the life and soul of the party.
Masha has no idea who Maria is.
Maria has always loved Masha.
Masha cannot exist without Maria.

A devised piece, based on the character of Masha in Anton Chekhov’s The Seagull, exploring the relationship between identity and performance.

The Seagull, Or Why Masha Always Wears Black is about the need for a story to be witnessed, about a desire to be seen and heard, and what it means to perform in front of an audience. Giving voice to a character who is otherwise confined to the margins, The Seagull, Or Why Masha Always Wears Black examines what it really means to try to be someone else.

Part of Sprint Festival 2016: London’s biggest and best festival of the newest, most adventurous theatre from across the UK and beyond.

Catch The Seagull, or Why Masha Always Wears Black in a double bill with Ding & Sich on the same evening. Two shows for just £16!

About the company

ThisIsNotATest are actor Maria Teresa Creasey, director Rebecca Reeves and designer Alex Stone. Their devised and collaborative approach to theatre-making is underpinned by Rebecca Reeves’ research in experimental theatre-making at Royal Central School of Speech and Drama. Their practice treads the borderline between live art, performance and theatre. Making significant use of technology and experimenting with new ways of story-telling and staging, they create work that is engaging and accessible, yet thought-provoking and challenging. They are fascinated by the liveness of the theatre event, and the impact that liveness can have.


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