The characters of Chekhov’s play “The Seagull,” in the latest production by Key City Public Theatre, want it all. They don’t get everything they wish for, of course, but it’s enthralling to watch them try.

For those who are not familiar with the Russian Chekhov’s oeuvre, created in the late 19th century, “The Seagull” is a great place to start. Perhaps you assume the script will be dreary, as I did. If so, you would be wrong.

What fun Chekhov must’ve had writing this story, for it appears as if he’s taken every observation he ever had about drama and writing; threw in the proverbial artist’s ego, insecurity and competitive nature; and then tossed it all with a whole lot of unrequited love for good measure. Writers will especially love, as I did, Trigorin’s monologue about the writer’s obsessive character, in Act II.

It takes a lot of mastery to make the four main characters – Nina, Konstantin, Irina and Trigorin – intriguing instead of just ridiculously angst-y and, as a result, unlikable, but director Lawrason Driscoll succeeds tremendously in drawing out multi-dimensional performances from Angela Gilbert, Guy Sands, Michelle Hensel and Mark Cherniak respectively. Hensel, as Konstantin’s mother, especially shows her talent without even opening her mouth, through her body language and facial expressions as she watches her son’s symbolistic play with a far too critical eye. Playing a popular writer who lacks a few scruples, Cherniak has a firm grip on his role without coming off as smarmy, while Gilbert and Sands are wonderful as ambitious artists who don’t realize how much more there is to artistry than simply the desire to be one.

The rest of the ensemble is equally riveting to watch, and if I were to choose a role I’d most like to play in this production, it would be one of these juicy parts, no doubt. In these roles are Ian Keith as the Lothario physician; Amanda Steurer as Masha, the country estate manager’s depressive daughter; Jesse Wiegel as the poor schoolteacher; Eligius Wolodkewitsch as Sorin, Irina’s brother; Terrence Campbell as the estate manager; and Judith Glass Collins as his wife. Three household servants are also ably portrayed by DD Wigley, Kellyn Traenkenschuh and Freeman Luoma – all examples of how to shine without saying a word.

I can’t heap enough praise on any of these actors’ performances, but I was especially pleased to see Eligius (known to his friends as “Lee”) Wolodkewitsch back on the boards after several years behind the KCPT stage. To see Terrence Campbell here was inspiring to me, too. His dedication to local theater is tremendous, and his growth as an actor has taken quantum leaps as a result. And then there was Amanda Steurer, whose drunken scene at the beginning of Act III was marvelous. I loved everything she did with her sorry-ass character.

To everyone who worked on this play, to artistic director Denise Winter for choosing this play, to Denise Fleener for sponsoring this play, to Lawrason Driscoll for directing this play, I say thank you. The next time I hear Chekhov is being produced locally or in Seattle, the first ticket sold is going to be mine.

Speaking of tickets, get yours now. Since I loved “The Seagull” so much, I went back for a second time last weekend, dragging along a 16-year-old with acting and writing experience who will be studying Russian at Harvard this summer. (Her comment: “The actors were so into their characters!”) Believing that a Sunday show wouldn’t be too much trouble to get into, I neglected to buy advance tickets, and we almost didn’t get in.