Nina review – a riveting series of horribly invasive auditions for The Seagull
Battersea Arts Centre, London Women up for a role as Chekhov’s aspiring actor navigate their meetings with a needling director in a tense show Smile. Introduce yourself. Say you’re such a big fan. Now do whatever he tells you. These are the unspoken rules the women follow as they take turns auditioning in Caroline Williams’ discomforting, rage-fuelled production about men and power and rotting winged roadkill. The women are auditioning for the role of Nina, the aspiring actor in Chekhov’s The Se
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**Battersea Arts Centre, London
**Women up for a role as Chekhov’s aspiring actor navigate their meetings with a needling director in a tense show
Smile. Introduce yourself. Say you’re such a big fan. Now do whatever he tells you. These are the unspoken rules the women follow as they take turns auditioning in Caroline Williams’ discomforting, rage-fuelled production about men and power and rotting winged roadkill.
The women are auditioning for the role of Nina, the aspiring actor in Chekhov’s The Seagull, in an experimental production directed by sombrely pretentious wunderkind Goran (a brooding Rowan Polonski). Using live-feed cameras in his show, he is the type of director to dismiss the need for an intimacy coordinator while claiming credit for having one in the room.
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About this article
- Length
- 127 words · 1 min read
- Published
- October 12, 2026
- Byline
- Kate Wyver
- Source
- The Guardian