Hamlet
Hamlet is perhaps the most produced of all of Shakespeare’s plays, for it captures the temper of the times in a way that continues to resonate. In young Hamlet we see the confusion and indecision of youth when asked to apply newfound knowledge to age-old demands of loyalty and revenge. The challenge for any modern production becomes how to make this statement anew. In past productions, the visible results have manifested in modern dress – whether in urban chic or formal– or any number of time periods from Napoleonic to medieval, for that matter.
CSF’s artistic director Philip C. Sneed has chosen to mount his Hamlet against a background of crumbling, dust-covered structures created by Andrea Bechert, as if to denote the play’s origins in a past that was ancient even in Shakespeare’s day. With the help of costumer Clare Henkel, Sneed dresses his characters in a succession of period pieces representing each of the last four centuries coupled with blue jeans and tee shirts to create the sense that Hamlet is a character that belongs to all time.
Sneed’s formalist structuring of the presentation, though, offsets the rather casual visual impression. As the story unfolds, characters spend most of their time facing forward as they deliver their lines, a situation that does not always seem comfortable for the younger actors. However, they deliver solid, unambiguous characterizations with clarity engendered by a succinct blending and cutting of Shakespeare’s original texts (credited to dramaturge Lori Lee Wallace) as sent down to us in at least three versions.
Stephen Waits as Hamlet downplays elements of indecision in favor of strategizing, which plays well opposite his horrified mother, Gertrude (Tammy Meneghini). His “to a nunnery go” speech to Ophelia seems more focused on her safety than usual. As for Ophelia played by Jamie Ann Romero, her madness develops with incremental precision and plausibility – something not always evident in past productions.
Of all the major characters, Horatio (Timothy Orr) seems to have much less to do this round, while King Claudius (Dennis Elkins), although displaying clear intentions has the hardest time due to wardrobe malfunctions. On the evening I reviewed, the wig kept slipping, causing his crown to fall and giving Claudius an unintended comic sense more suited to the character of Polonius (CSF local veteran, Sam Sandoe). Hamlet’s adversary Laertes (Mat Hostetler) displays a sense of certainty that carries less contrast than usual due to Hamlet’s trajectory, but his brotherly scene with Ophelia is touching.
Special mention should go to the Ghost of Hamlet’s Father (Gary Alan Wright), the recipient of designer Clare Henkel’s best efforts. Bearing a full set of rotting armor, a deathly pallor and horrific aspect, his appearance provides all the motivation necessary to set the tragic events in motion. Sound design by Kevin Dunayer augments the entire effect throughout and Fight director Geoffrey Kent has provided an unusual broadsword exhibition for the final parlay between Laertes and Hamlet that leads both to their deaths.
The amalgamation of all of these efforts has produced a worthy Hamlet, but I missed Fortinbras, son of the rightful king, musing over the bodies strewn across the stage. Perhaps that’s for another version and time.
Hamlet continues in repertory with Two Gentlemen From Verona (indoors)and Much Ado About Nothing (in the Mary Rippon Outdoor Amphitheatre) through August 15th. In addition, the Festival is offering productions of To Kill a Mockingbird and The Complete Works of William Shakespeare (Abridged). For production schedule and tickets phone 303.492.0554,visit the box office in the University Theater Building on the CU Boulder Campus, or on-line at www.coloradoshakes.org.