The day after seeing Duncan Macmillan and Thomas Ostermeier’s adaptation of The Seagull at the Barbican, I found myself pulled back—not for the play this time, but for the building. I returned with a camera and shot an entire roll, trying to make sense of what had just lodged itself under my skin. This version of The Seagull cracked something open. I wasn’t ready to leave. A place that seemed to carry the same ache.