Dual MSU plays evoke deep thoughts and feelings

“I’m in mourning. For my life. I’m unhappy.” Nineteenth-century Russian literature isn’t exactly known for its lightheartedness, so it should come as no surprise that after watching Anton Chekhov’s 1896 play, “The Seagull,” and Aaron Posner’s 2013 adaptation, “Stupid F**king Bird,” mere hours apart, I returned home with a somewhat heavy heart. I had feelings!

The shows are being performed in repertory by the Michigan State University Department of Theatre. “Performed in repertory” means two related plays are staged during the same time period, alternating on different days or at different times. This allows the audience to compare and contrast how similar themes are presented.

It’s especially effective in this situation, considering that “The Seagull” could be described as a slow-motion group chat meltdown. Everyone seeks love and validation, and absolutely no one is happy. When you read that the cast has been working with the College of Arts and Letters’ director of student wellness to “de-role” and “cool down” during rehearsals, you might roll your eyes, but I would suggest giving yourself a day or two between shows if you intend to see both. They’re both very well done and really quite intense. It’s not necessary to see both plays — each stands on its own — however, for me, seeing and understanding “The Seagull” first definitely led to a greater appreciation of “Stupid F**king Bird.”

Both plays come with a content warning for the off-stage depiction of suicide. No such warning is included for the unrequited love, the existential and artistic angst and the desperate longing for approval from a parent incapable of offering it. Both shows are also wickedly funny! You will have feelings, and you will be thinking about the productions long after you’ve left the theater. Fair warning: While it’s likely obvious from the title, “Stupid F**king Bird” includes language that is less than family friendly.

“Stupid F**king Bird” puts a decidedly modern twist on “The Seagull.” In addition to the coarse language, characters regularly break the fourth wall, and there are many references to pop culture and current events. Whereas “The Seagull” relies heavily on subtext and unspoken feelings, the characters in “Stupid F**king Bird” bare all their feelings for everyone to see. And I do mean see. The Arena Theatre is a small venue, and the intimate setting puts the audience in very close proximity to the cast. My front-row seat for “Stupid F**king Bird” allowed me to see that Preston Lyford, as Conrad, had real tears on his face at the end of the show. His performance was brilliant and heartbreaking.

Stephanie Kroschel, who plays Arkadina in “The Seagull,” was wonderful. While her character is completely self-absorbed and is certainly not a contender for mother of the year, in either the 19th or the 21st century, Kroschel’s portrayal was both sympathetic and devastating.

Finally, I need to shout out Matt Durland, who delivered an excellent performance as Dr. Sorn in “Stupid F**king Bird.” He also sat next to me during “The Seagull” and was kind enough to explain to me exactly what it means when two plays are performed “in repertory.”