I adapted and directed a new version of Chekhov’s play with Quantum Theatre in Pittsburgh, and it’s open now! It’s getting fantastic reviews!
“Schultz… has created a concept for Seagull that is as visceral as it is new. It is a loving variation on Chekhovian themes, and a great way to introduce new audiences to this seemingly stale, dead white guy’s work.” -DC Theatre Arts
“Quantum Theatre’s production of Anton Chekhov’s “The Seagull” (1896) with the main character, a young man, Constantine, played by a woman, Phoebe Lloyd. Not only is this gender switch effective, but it gives this play a sensibility I’ve never encountered. In fact, I think it makes the dénouement even more emotionally satisfying. And furthermore, I would argue, this innovation works better than any traditional casting that I’ve seen.” - Pittsgurgh Quarterly
“This searing Quantum production, humorous and heartbreaking in equal measure, reaches back to a classic and pushes it forward with fresh eyes, superb performances and a picture-perfect Pittsburgh setting.” -OnStage Pittsburgh
“Director Joanie Schultz filters the story through a queer lens, and it works brilliantly. The language is simple, but elegant. In a world that continues to stifle LGBTQ+ voices, ‘Seagull’ stands triumphant. Another reminder that all art is political and Quantum doesn’t back down to the rising tide of intolerance.” - ‘Burgh Vivant
“I won’t give too much away, but the breathtaking acting, scene-setting and directing came together in the play’s final scene. Gauzy curtains, tense piano music and a wordless but mesmerizing performance from Lloyd as Constantine made for perhaps the best five minutes of theater I’ve seen this year. ‘Seagull’ is complex, beautiful and will give you plenty to discuss on the car ride home. In short, it’s an absolute dream.” - Trib Live
“Presentation of such a play requires the director, cast, and crew to dance an ongoing balance between chuckles and calamity. Here, the dance was mesmerizing. It swept me away.” - Entertainment Central Pittsburgh
“Queering the play is far more than a simple trick. Queer and trans people existed in 1890’s Russia, but we don’t see them. Bringing them into the text helps the audience understand the quiet anguish of not being seen for who you really are, not just as an artist but as a human being. It also shows queer joy much like artistic joy, even amidst the chaos and angst.” - Pittsbugh Lesbian Correspondents
“The second thing that stood out here is how subversively and wickedly funny Chekhov is, even in this play, which ends (spoiler alert) quite tragically. Schultz and co. clearly get that there is humor here” - Pittsburgh Tattler
“Between the script, the cast, the director and the weather, it was an unforgettable night of feeling many, many things at once.” -Broadwayworld.com