HAMLET

HAMLET

the tour returns to Shakespeare's Globe
23.04.16


The Hamlet company are back home after two years on the road. Since they set off for Amsterdam in 2014, they've given 295 performances in 206 venues. The final four shows see them on the Globe's stage.
I've already written twice about this production – though in earlier incarnations.
It's survived the vicissitudes of touring very well. The flight cases now form the set – though the two planks are still in evidence, and The Mousetrap is even more stylised. The “sour beer” sequence works wonderfully here.
For this first show back, Matthew Romain gave his Hamlet, engaging the audience throughout. Brilliant support from the hard-working, role-doubling company: Amanda Wilkin's Horatio, Rawiri Paratene's prim, prating Polonius [and earthy gravedigger], Jennifer Long's Ophelia.
A rapturous reception from a packed Globe – these four shows long since sold out – beginning as soon as Tom Lawrence stepped forward to do his speech of welcome.
We look forward to Dominic Dromgoole's book of the tour. A documentary, too, maybe.

production photograph:Helena Miscioscia

HAMLET

HAMLET

at the Rose Playhouse Bankside

04.01.16

for Remote Goat

Hamlet at the Rose Theatre, the Bankside playhouse built in the 1580s by Philip Henslowe, where Shakespeare, Marlowe, Johnson and Kyd were staged until the early 17th century.

When the sweet prince last trod these boards, just three years ago, we were assured that Hamlet was staged here in 1594. Whether that's true or not, there is a definite sense of historical continuity here, even in this radical re-working of Shakespeare's longest drama.

“This bodes some strange eruption in our state,” warns Horatio, the first words spoken after an ominous soundscape. This is a wilfully disjointed, oneiric vision of Hamlet's world - “In that sleep of death, what dreams may come,” he muses, in his big soliloquy.

Chris Clynes is the black-clad Prince; he speaks the speeches with clarity, and occasional passion - “my mind's eye” - but never seems to have much mirth to lose; we're too used to lighter, more jocular Hamlets, perhaps. Messing with his mind in this claustrophobic space are Suzanne Marie's hysteric Ophelia, Louise Templeton's unfeeling Gertrude, and Nigel Fyfe's Claudius – an imposing presence, though not especially regal. Ross McNamara's Laertes, great-coat and rifle, brings a controlled passion to his role, and Luke Jasztal makes an engaging Horatio, especially in his closing speech, where he borrows some of Fortinbras's valediction.

Dermot Dolan's Polonius is dressed like a comic, and bears a banjo, but is singularly unamusing.

Yorick's skull makes an early, unlooked-for appearance – the Gravedigger a victim of the cuts – and returns as Ophelia's remembrances. Much of the poetry, and some of the soliloquies, are lost in this nightmare world.

The echoing excavation area is used for the ghost-watchers and much more – Hamlet's return, for instance – and there are some telling visual moments, like Ophelia's funeral procession. And Hamlet's little marionettes for the Murder of Gonzago.

The playlist is nothing if not eclectic: Goodnight Sweetheart, Mad About the Boy, Send in the Clowns, Leonard Cohen, Lonely Goatherd [for the Mousetrap], Lili Marlene [for Ophelia and Laertes sharing a bag of chips].

Director Diana Vucane's 90-minute tragedy seeks to see the play afresh through Hamlet's eyes, “focusing on the perspective of a disturbed mind, thus defying the reality-based structure of time and space, recognizing solely the inconceivable logic of a dream.” It comes across, though, as an earnest but unedifying student concept, offering only occasional insights into Shakespeare's play or Hamlet's troubled mind.

production photograph by Jana Andrejeva-Andersone

HAMLET

HAMLET

Chelmsford Theatre Workshop at the Old Court

06.11.13

Is Hamlet our hero ? What, like Henry V ? Or more like Macbeth ?

Lynne and Mick Foster's uncluttered, dynamic production for Chelmsford Theatre Workshop encourages us to re-evaluate our take on the Prince of Denmark, though prior knowledge of the play, or the vast body of criticism it has attracted, is certainly not essential.

A clean, monochrome set, its three doors echoing the Renaissance stage which first saw this tragedy acted, some super costumes, and a clutch of fine Shakespearean performances make for a satisfying evening with the Bard.

Barry Taylor is the eponymous hero [or not]. A bearded , brooding figure, he has certainly “lost all [his] mirth”. He speaks the speeches with a natural, spontaneous delivery which still respects the verse. The soliloquies, very much an innovation back in 1601, are done in the round, drawing us in to Hamlet's troubled mind. This is an aggressive, angry man, unfeeling towards others, notably his mother [Beth Crozier, in a strong performance] and poor Ophelia, especially in a finely judged “nunnery” scene.

She is played, with stylish subtlety, by Sarah Bell. She has a bawdy song, an impressive mad scene. She's listening, a smile playing on her lips, to Polonius's interminable advice to Laertes [Robin Mahr, physically and vocally secure], and she's lurking, with her prayer book, throughout To Be Or Not To Be.

In a generally strong supporting company, promising first CTW outings for Tom Ford as Rosencrantz, Simon Burrell as a smooth-talking Claudius, and Christian Search as an elegant Horatio.

Jim Crozier is the angry Hamlet Senior; Robin Winder the phlegmatic, loquacious gravedigger.

The acting area, though it must have been very difficult to light, is effectively used, with many striking stage pictures: the grouping of the players, with R & G, just one example.

Not a definitive Hamlet – how could it be – and the first and last lines are amongst the many cuts. But a thoughtful interpretation, thankfully free of gimmicks and director's ego.

Laura Bennett reviewed the show for Chelmsford Weekly News;

A considered character exploration opens the CTW programme, written by co-directors Lynne and Mick Foster, analysing Hamlet's place as a literary "hero". Should we be taken in by his intelligent and profound speeches, or see past them to the terrible actions we witness him perform? An interesting take, and one that cleverly opens the way for thought-provoking direction to engage those with prior experience of this epic work, but does not clutter or confuse the story for those approaching the play for the first time.

Barry Taylor's young Prince Hamlet is given a melancholy characterisation, exploring the directors' interpretation with a particularly nasty portrayal, especially in his chilling treatment of both Ophelia and Gertrude. In a supporting ensemble cast of mixed experience there are some standout performances. Beth Crozier gives a compellingly regal interpretation of Gertrude with particularly impassioned reactions to Ophelia's tragic demise. Her new husband Claudius is played by Simon Burrell with conviction and although his posture could be more majestic his delivery is clear and engaging. Sarah Bell's Ophelia is very gentle, quietly done her descent is all the more intense for its calmness and a pin can be heard drop during her singing scene. A strong couple of cameos too by Jim Crozier as the ghostly old Hamlet, and Robin Winder as the garrulous gravedigger.

A fluent and accessible version performed smoothly with moments of quiet intensity. The hand of the directors can be felt throughout, generating interest for audiences both familiar and new to one of Shakespeare's most famous and influential plays.

a fuller version is posted on her blog ...

HAMLET

HAMLET

at the Rose, Bankside

07.02.13

for Remote Goat

The shot glasses are lined up, Claudius cuts the cards and it's a deadpan duel to the death between Laertes and Prince Hamlet, with Yorick's skull and the tinny transistor on the table as a memento mori.

Martin Parr's amazing one-act Hamlet makes ingenious use of the space at the Rose, Bankside. To begin, we are in a dark, confined space, but as Claudius realises he's been set up, and calls for lights, the veil of the temple is swept aside to reveal the vast archaeology beyond, Ophelia's brook and the Gravemaker's domain in the distance, lit by handheld electric torches.

There are several other inspired innovations. It is amazingly powerful to have the troubled Prince of Denmark sitting amongst us, sharing his thoughts in a movingly natural way, and involving all fifty of us – fellow students, travelling players – in the action. And the transistor radio ? It's the public voice of Claudius – the King's Speech, complete with Beethoven – it's the private urgings of Hamlet's father – the ghost a famous Prince of Denmark from the turn of the millennium, I'd swear. And at the close – "the rest is silence" – static and a flat-line tone …

Only four actors, but all of them excellent. Jonathan Broadbent is the up-close and personal Prince, who could easily fit in to the Faculty of Philosophy in Wittenberg, beautifully spoken, hardly seeming to project at all, but with a terrific presence. His mother, and his Ophelia, is Suzanne Marie, strong in both roles, knitting a long red scarf which unravels as Ophelia runs mad. Scarves something of a feature – Hamlet could do it pat with his, garotting the kneeling King, played with an icy determination by Liam McKenna, who with the addition of a pair of specs becomes old Polonius. Laertes, the Gravedigger and a nerdy Rosencrantz are all played with disarming honesty by Jamie Sheasby.

Rebecca Brower's design, with more than a nod to Nordic Noir, uses trails of red rope lights – Polonius's guts, Ophelia's garland – to startling effect, in contrast to the chilly gloom of the interiors with utility metal lampshades casting ominous pools of light.

Pocket Hamlet is not new, of course. Stoppard famously cut it to fifteen minutes. The Globe's tour last year was little over two hours with eight actors. But this taut, intimate production from Parr, who gave us Romeo and Juliet in the same space last year, gives a reading of the play which stands comparison with any other – no allowances need to be made for the tiny stage, or the reduced company, or the subtle cuts. Perhaps for the cold creeping out of the concrete walls – heating, and loos, are promised for 2016 …

HAMLET

HAMLET

Shakespeare's Globe on tour at the Fellows' Garden, King's College, Cambridge

08.07.12

Saw this lovely little Hamlet in Corpus last year. Now it's back on the road with a new cast; I saw it at the Globe, when the space and the audience always seem to bring the best out of the touring companies. But decided to catch it in the wild again – another Cambridge garden, this time the vast acreage of the Fellows' Garden at King's, over the road from the college itself.

The stoical players braved the heavy shower which greeted the start of the show – it's been wet and windy at every date so far, apparently.

Michael Benz makes an amazing Hamlet. Intelligent, but clearly disturbed, his way with the text combines clarity, insight and emotion. He's joined by Miranda Foster as his mother [and a great gravedigger's apprentice] and Dickon Tyrrell as his various fathers.

Ophelia was touchingly done, and beautifully spoken, by Carlyss Peer, who like the rest, dutifully and skilfully doubled many other minor characters. I was especially moved by the moment when she tenderly gathered up her own corpse in her arms. Similar resurrections at the end, before the lively jig – the stage much dryer by now – and off to Oxford …

HAMLET

Brentwood Shakespeare Company at the Brentwood Theatre

15.04.11

A clearly delivered, tightly plotted Hamlet from Brentwood Shakespeare, with Lionel Bishop's almost aggressively brooding Prince at its centre. The clouds still hung over him; only his livelier mania after the interval brought relief from resentful sorrow. But it was a beautifully spoken, thoughtful interpretation – like Alan Ablewhite's prolix Polonius, he made effective use of asides to draw us into the intrigue.

A strong cast brought a wealth of experience to their roles. Sydney Hill's Claudius could easily have walked in from one of Wolfit's tours: a rich, old-school interpretation. By contrast, Beth Smith's earnest blue-stocking Ophelia was moving in her madness, all mud and feathers. The Gravediggers, who survived the cuts better than most, were brilliantly done by Ablewhite [again] and the inimitable Brian Terry. Rosencrantz worked surprisingly well as a woman, thanks to Hayley Joanne Bacon's feisty performance. And Alec Clements' apprentice Osric was very promising.

The staging was confident and dramatically meaningful from the first revelation of the red hangings to the final 'resurrection'. I was less sure about the colour-coded “timeless” costumes – to me they smacked of 1950s science fiction.

But Glenda Abbott's polished, fast-paced production successfully brought Shakespeare's finest tragedy to vivid life, pleasing both Bardolators and beginners.