"Stop all printing of my play. I shall never write another one again." So wrote the frustrated young Dr. Chekhov to his publisher the morning after his new play, The Seagull, was booed off the stage by an audience in St. Petersburg, outraged by its incomprehensibility and Symbolist decadence.

This disastrous opening night, on October 17, 1896, at the Alexandrinsky Theater, is a legend in theater history. So is the fate of The Seagull itself. The play, which Chekhov doubted would ever be performed again, went on to crown the inaugural season of the Moscow Art Theater two years later in a stunning turnaround, introducing a confident young director/actor named Stanislavsky and a passionate young actress named Olga Knipper (who later became the playwright's wife). It was followed by three other masterpieces from the same author for that theater company (Uncle Vanya, The Three Sisters and The Cherry Orchard), creating a quartet of "new forms" and paving the way for the twentieth-century revolution called modern drama.

And now, 106 years after this controversial masterpiece was written, The Seagull is again taking center stage, as the theatrical event of the new decade in an arresting production at the Public Theater's Shakespeare in Central Park during August, proving theater can indeed still be the center of culture.

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