{"id":54990,"date":"2025-09-13T18:13:40","date_gmt":"2025-09-13T17:13:40","guid":{"rendered":"https:\/\/londoncult.co.uk\/?p=54990"},"modified":"2025-11-04T23:49:02","modified_gmt":"2025-11-04T23:49:02","slug":"you-won-t-get-me-alexander-molochnikov-stages-seagull-true-story","status":"publish","type":"post","link":"https:\/\/londoncult.co.uk\/en\/you-won-t-get-me-alexander-molochnikov-stages-seagull-true-story\/","title":{"rendered":"You Won\u2019t Get Me!\u00a0Alexander Molochnikov stages Seagull: True Story"},"content":{"rendered":"\n<p>In <em>Seagull: True Story<\/em>&nbsp;there are countless directorial and spatial inventions. They\u2019re strung like beads along the thread of the narrative, exquisitely precise and devilishly witty. To describe them would be thankless\u2014they must be seen. The production also looks almost annoyingly rich: a grand, intelligent set. And then the realization dawns that all this magnificence is made from red velvet, cardboard, plastic bags, and yellow tape\u2014and that revelation makes it even more impressive.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-wp-embed is-provider-london-cult. wp-block-embed-london-cult.\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"k0YgmFyfLK\"><a href=\"https:\/\/londoncult.co.uk\/aleksandr-molochnikov-kak-mozhno-zapretit-delat-krasivoe\/\">\u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440 \u041c\u043e\u043b\u043e\u0447\u043d\u0438\u043a\u043e\u0432: \u00ab\u041a\u0430\u043a \u043c\u043e\u0436\u043d\u043e \u0437\u0430\u043f\u0440\u0435\u0442\u0438\u0442\u044c \u0434\u0435\u043b\u0430\u0442\u044c \u043a\u0440\u0430\u0441\u0438\u0432\u043e\u0435?\u00bb<\/a><\/blockquote><iframe class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; visibility: hidden;\" title=\"&#8220;\u0410\u043b\u0435\u043a\u0441\u0430\u043d\u0434\u0440 \u041c\u043e\u043b\u043e\u0447\u043d\u0438\u043a\u043e\u0432: \u00ab\u041a\u0430\u043a \u043c\u043e\u0436\u043d\u043e \u0437\u0430\u043f\u0440\u0435\u0442\u0438\u0442\u044c \u0434\u0435\u043b\u0430\u0442\u044c \u043a\u0440\u0430\u0441\u0438\u0432\u043e\u0435?\u00bb&#8221; &#8212; London Cult.\" src=\"https:\/\/londoncult.co.uk\/aleksandr-molochnikov-kak-mozhno-zapretit-delat-krasivoe\/embed\/#?secret=Sfsi2Ln2AO#?secret=k0YgmFyfLK\" data-secret=\"k0YgmFyfLK\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>It is, above all, a very young play. It radiates such vitality, such life-force, that it seems to push the despairing protagonist away from the suicide that Chekhov would have demanded\u2014but Molochnikov does not.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><a ref=\"magnificPopup\" href=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/68b181318a7c0061d4aec6f5_mt-new_1400-x-680-p-3200.jpg\" data-lbwps-width=\"3200\" data-lbwps-height=\"1554\" data-lbwps-srcsmall=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/68b181318a7c0061d4aec6f5_mt-new_1400-x-680-p-3200-600x291.jpg\"><img decoding=\"async\" width=\"1024\" height=\"497\" src=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/68b181318a7c0061d4aec6f5_mt-new_1400-x-680-p-3200-1024x497.jpg\" alt=\"\" class=\"wp-image-54714\" srcset=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/68b181318a7c0061d4aec6f5_mt-new_1400-x-680-p-3200-1024x497.jpg 1024w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/68b181318a7c0061d4aec6f5_mt-new_1400-x-680-p-3200-600x291.jpg 600w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/68b181318a7c0061d4aec6f5_mt-new_1400-x-680-p-3200-902x438.jpg 902w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\">\u00abSeagull: True&nbsp;Story\u00bb playbill<br>Photo by marylebonetheatre.com<\/figcaption><\/figure>\n<\/div>\n\n\n<p>But let\u2019s take it step by step. Of course, this is not Chekhov\u2019s <em>Seagull<\/em>\u2014Eli Rarey\u2019s script is partly based on Molochnikov\u2019s own work at the Moscow Art Theatre, and partly on his emigration to the United States. The plot: a young director stages <em>The Seagull<\/em>&nbsp;at the Moscow Art Theatre, the war begins, he emigrates, and stages <em>The Seagull<\/em>&nbsp;again in America.<\/p>\n\n\n\n<p>The production is, first and foremost, an artistic statement about theatre and about the fate of the director\u2014Kon (played by Daniel Boyd). It is not about war (damn it), not about tyranny, not about escape\u2014it is about a theatre director, his life, his work, his love of the backstage corridors of the Moscow Art Theatre, his actress mother. And only then is it about war. About that terrible 24 February morning during rehearsals at the Art Theatre, which crashed down on the actors\u2019 heads\u2014so quietly, so domestically. And that ticket to New York\u2026 Kon packs his suitcase, changing out of a loose Russian shirt into a shabby zip-up tracksuit that completely alters his body: the energetic, vivid man is suddenly hunched and constrained.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><a ref=\"magnificPopup\" href=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6500.jpg\" data-lbwps-width=\"7371\" data-lbwps-height=\"4973\" data-lbwps-srcsmall=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6500-600x405.jpg\"><img decoding=\"async\" width=\"1024\" height=\"691\" src=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6500-1024x691.jpg\" alt=\"\" class=\"wp-image-54230\" srcset=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6500-1024x691.jpg 1024w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6500-600x405.jpg 600w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6500-704x475.jpg 704w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\">Photo by Wild Yak Productions<\/figcaption><\/figure>\n<\/div>\n\n\n<p>The surrounding darkness tries casually to grind this little director into mince\u2014not because it wants to, but because the meat-grinder doesn\u2019t care whose flesh it turns into cutlets. If not Kon, then his friend Anton (Elan Zafir). Yes, there\u2019s a political message here, but it\u2019s cleverly hidden, read between the lines. This is not a pamphlet, but a drama of a personality.<\/p>\n\n\n\n<p>And that\u2019s exactly what makes <em>Seagull: True Story<\/em>&nbsp;a genuine artistic statement about the current war\u2014a statement full of rage, despair, and\u2026 love of life. That, at least, is pure Chekhov: so much love (and how nervy it is!), only instead of a magic lake there is a white bathtub on baroque legs.<\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><a ref=\"magnificPopup\" href=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6504.jpg\" data-lbwps-width=\"5464\" data-lbwps-height=\"8192\" data-lbwps-srcsmall=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6504-400x600.jpg\"><img decoding=\"async\" width=\"683\" height=\"1024\" data-id=\"54234\" src=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6504-683x1024.jpg\" alt=\"\" class=\"wp-image-54234\" srcset=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6504-683x1024.jpg 683w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6504-400x600.jpg 400w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6504-317x475.jpg 317w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6504-600x900.jpg 600w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6504-scaled.jpg 1708w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/><\/a><figcaption class=\"wp-element-caption\">Photo by Wild Yak Productions<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><a ref=\"magnificPopup\" href=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7598.jpg\" data-lbwps-width=\"5008\" data-lbwps-height=\"7742\" data-lbwps-srcsmall=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7598-388x600.jpg\"><img decoding=\"async\" width=\"662\" height=\"1024\" data-id=\"54225\" src=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7598-662x1024.jpg\" alt=\"\" class=\"wp-image-54225\" srcset=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7598-662x1024.jpg 662w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7598-388x600.jpg 388w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7598-307x475.jpg 307w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7598-600x928.jpg 600w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7598-scaled.jpg 1656w\" sizes=\"(max-width: 662px) 100vw, 662px\" \/><\/a><figcaption class=\"wp-element-caption\">Photo by Wild Yak Productions<\/figcaption><\/figure>\n<\/figure>\n\n\n\n<p>The acting is precise to the last gesture and glance. Ingeborga Dapk\u016bnait\u0117 plays Olga\u2019s maternal jealousy with a barely perceptible movement of the lips. Everyone admires her artistry\u2014colleagues, managers\u2014but her most important scene she plays alone, in her dressing room, after switching off a video call with her son. Dapk\u016bnait\u0117 is dazzlingly good\u2014slender, elegant, on sharp heels, like a silver hairpin\u2014and just as dazzlingly terrible, for beneath the prima\u2019s beauty lies not a tender mother but a selfish monster-Arkadina.<\/p>\n\n\n\n<p>Andrei Burkovsky plays two theatre managers\u2014one in Moscow, one in New York. At first glance, this suggests some kinship between them, but in truth they share nothing but a profession. A huge, many-layered, complex role! Burkovsky manages to talk with the audience, quietly discipline the actors, play his role, and engage in a love triangle. He changes faces, jackets\u2014these endless transformations have something devilish in them. No wonder he appears in Kon\u2019s dream as an equestrian statue of a tyrant-ruler.<\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-large\"><a ref=\"magnificPopup\" href=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7179.jpg\" data-lbwps-width=\"5464\" data-lbwps-height=\"8192\" data-lbwps-srcsmall=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7179-400x600.jpg\"><img decoding=\"async\" width=\"683\" height=\"1024\" data-id=\"54228\" src=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7179-683x1024.jpg\" alt=\"\" class=\"wp-image-54228\" srcset=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7179-683x1024.jpg 683w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7179-400x600.jpg 400w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7179-317x475.jpg 317w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7179-600x900.jpg 600w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a7179-scaled.jpg 1708w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/><\/a><figcaption class=\"wp-element-caption\">Photo by Wild Yak Productions<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><a ref=\"magnificPopup\" href=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6906.jpg\" data-lbwps-width=\"5359\" data-lbwps-height=\"8035\" data-lbwps-srcsmall=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6906-400x600.jpg\"><img decoding=\"async\" width=\"683\" height=\"1024\" data-id=\"54236\" src=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6906-683x1024.jpg\" alt=\"\" class=\"wp-image-54236\" srcset=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6906-683x1024.jpg 683w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6906-400x600.jpg 400w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6906-317x475.jpg 317w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6906-600x900.jpg 600w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/5b6a6906-scaled.jpg 1707w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/><\/a><figcaption class=\"wp-element-caption\">Photo by Wild Yak Productions<\/figcaption><\/figure>\n<\/figure>\n\n\n\n<p>One of the most striking performances is Elan Zafir\u2019s double role as Anton and Sorry. His Anton\u2014the assistant director, Kon\u2019s friend and comrade\u2014is gentle, quiet. He wears his jacket and scarf, speaks softly, nothing suggesting the tragic fate awaiting him when he confronts terrifying forces. You can picture him sitting aside, humming some little tune to himself his whole life. And then\u2014suddenly\u2014he throws himself into the meat-grinder. He gives Kon a birthday present: a solitary fish in an aquarium, a symbol of muteness and loneliness. A standard that applies to so many here. Who is the actor without English in an English-speaking country? Who cannot, for various reasons, say all they wish to? The fish in the aquarium. Incidentally, also named Anton.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><a ref=\"magnificPopup\" href=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/6882306a9b536622bddc6680_5b6a7123-min.jpg\" data-lbwps-width=\"8092\" data-lbwps-height=\"5397\" data-lbwps-srcsmall=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/6882306a9b536622bddc6680_5b6a7123-min-600x400.jpg\"><img decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/6882306a9b536622bddc6680_5b6a7123-min-1024x683.jpg\" alt=\"\" class=\"wp-image-54716\" srcset=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/6882306a9b536622bddc6680_5b6a7123-min-1024x683.jpg 1024w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/6882306a9b536622bddc6680_5b6a7123-min-600x400.jpg 600w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/6882306a9b536622bddc6680_5b6a7123-min-712x475.jpg 712w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\">Photo by Wild Yak Productions<\/figcaption><\/figure>\n<\/div>\n\n\n<p>There\u2019s another layer\u2014intentional or accidental\u2014of references to Moscow theatre life. Burkovsky\u2019s character spreads his arms like wings against the red curtain, and suddenly the crimson is replaced in your mind by the olive-grey drape with its flying seagull. The Moscow Art Theatre, of course. Strange flashbacks: Boyd truly resembles Molochnikov, but at times he seems identical to other Moscow actors, as if souls had migrated. And Dapk\u016bnait\u0117 sometimes recalls different actresses from the Art Theatre\u2014both uncanny and funny, almost magical. Or Kon and Anton walking from the Art Theatre to Red Square: Kamergersky Lane, the Theatre School, Chekhov\u2019s statue, the turn to Tverskaya, the underpass. This is not nostalgia\u2014it is literally the power of theatre.<\/p>\n\n\n\n<p>The play is divided into two acts\u2014Moscow and New York. And by the ease with which Kon joins a rehearsal in New York, it\u2019s clear: the language of art is universal. Art, but not communication. How funny when one American actor yells indignantly: \u201cDon\u2019t touch me! Why are you touching me?\u201d The audience roars\u2014the gag lands perfectly. Kon, seeking total freedom of expression, flies to New York. Quite literally flies\u2014pressed into his seat, hoping at last to merge with the American dream. But there too disappointment awaits him\u2014and the more unexpected, the more painful.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><a ref=\"magnificPopup\" href=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a4234.jpg\" data-lbwps-width=\"8163\" data-lbwps-height=\"5190\" data-lbwps-srcsmall=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a4234-600x381.jpg\"><img decoding=\"async\" width=\"1024\" height=\"651\" src=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a4234-1024x651.jpg\" alt=\"\" class=\"wp-image-54242\" srcset=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a4234-1024x651.jpg 1024w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a4234-600x381.jpg 600w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a4234-747x475.jpg 747w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\">Photo by Wild Yak Productions<\/figcaption><\/figure>\n<\/div>\n\n\n<p>The breakneck rhythm of the play (you barely have time to breathe in either act) is built on the interplay of tragic and comic, fear and freedom, jealousy and love. Yes, there is a love story too. Stella Baker plays both an actress in the Moscow troupe and the American Nico\u2014the main lyrical heroine. This Nico is stunningly beautiful, glowing with the same vitality that suffuses the production. A suave patron makes advances, but she knows what she wants:<br>\u201cYou keep looking back, always looking back. How long can you keep looking back? I\u2019m not Nina, I\u2019m Nico! <em>The Seagull, The Seagull, The Seagull<\/em>\u2014you offered me a <em>Seagull<\/em>, but he offered me a child!\u201d<br>She almost\u2014but not quite\u2014cries. She holds back with furious restraint, and only at \u201cI truly loved you!\u201d does her voice break.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><a ref=\"magnificPopup\" href=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a5355.jpg\" data-lbwps-width=\"8192\" data-lbwps-height=\"5464\" data-lbwps-srcsmall=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a5355-600x400.jpg\"><img decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a5355-1024x683.jpg\" alt=\"\" class=\"wp-image-54232\" srcset=\"https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a5355-1024x683.jpg 1024w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a5355-600x400.jpg 600w, https:\/\/londoncult.co.uk\/wp-content\/uploads\/2025\/09\/cs7a5355-712x475.jpg 712w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><figcaption class=\"wp-element-caption\">Photo by Wild Yak Productions<\/figcaption><\/figure>\n<\/div>\n\n\n<p>When life turns tragic, people often feel they are no longer themselves. A beast in a trap, a bird in a snare\u2014but not themselves. And\u2014whether for good or ill\u2014only they themselves can decide how much strength they have to resist the unstoppable destructive force that wants to devour everything alive.<\/p>\n\n\n\n<p>The edge of the platform. Kon\u2019s tear-stained face.<br>The wind of the arriving train.<br>A step\u2014forward or back?<br>No vials of ether.<\/p>\n\n\n\n<p><em>You won\u2019t get me.<\/em><em><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The play Seagull: True Story\u00a0ran with great success in New York, and now Molochnikov has brought it to London. The premiere at the Marylebone Theatre played to a full house and\u2014astonishing for London\u2014to ovations so long the curtain rose five times. And it really is a very good production and a very good play (spoiler: not Chekhov\u2019s).<\/p>\n","protected":false},"author":91,"featured_media":54229,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[86],"tags":[],"type_post":[184],"column":[185],"class_list":["post-54990","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","column-letters-from-the-theatre"],"_links":{"self":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts\/54990","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/users\/91"}],"replies":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/comments?post=54990"}],"version-history":[{"count":0,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/posts\/54990\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/media\/54229"}],"wp:attachment":[{"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/media?parent=54990"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/categories?post=54990"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/tags?post=54990"},{"taxonomy":"type_post","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/type_post?post=54990"},{"taxonomy":"column","embeddable":true,"href":"https:\/\/londoncult.co.uk\/en\/wp-json\/wp\/v2\/column?post=54990"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}