Hamlet
In Michael Michetti’s quirky version of Hamlet, the prince of Denmark is a suicidal and impressionable young man who sulks about his mother’s hasty remarriage andcompulsively inflicts pain upon himself whenever he has occasion to ruminate about the rotten state of his own life. Michetti has reworked the narrative so that we never see the ghost who directs Hamlet to avenge his father’s death. Rather, the ghost enters into Hamlet’s own person (and presumably his soul). Thus, Michetti irons out the kinks and the ambiguities of Shakespeare’s narrative in a way that not only justifies Hamlet’s erratic behavior, but justifies everyone’s conclusion that he is mad.
This clarity of purpose, however, robs us of the opportunity to solve the eternal conundrum: “to be or not to be” for ourselves. Now, Ophelia (prettily played by Dorothea Harahan) is perfectly justified in returning Hamlet’s letters and colluding with her father, Polonius (flawlessly filled in by Tom Fitzpatrick in place of Tony Abatemarco on the evening I attended) to prove his instability.
Instead of a decisive move, then, the final duel (choreographed by Kenneth R. Merkx, Jr.) between Laertes (Matt Jaeger) and Hamlet (Freddy Douglas) becomes a grudge match that has nothing to do with Hamlet’s mandate for revenge. In this version of Hamlet, evil triumphs and the bloodbath that ensues loses its nobility. There is no feeling of vengeance here; only unhappy accidents.
By and large, the supporting cast supplies the right tapestry for the play to unfold. As Hamlet’s mother, Gertrude, the incomparable Deborah Strang is curiously noncommittal in her attentions to her son while Francois Giroday as Claudius doesn’t make much use of the closet scene. Matt Jaeger, though, presents a proper foil as Laertes to Freddy Douglas’s fraught Hamlet. Douglas is a compelling presence and an energetic actor. But, because he is robbed of an epiphany, Steve Coombs as Horatio is left to provide, from one section to another, the only steadying influence as Hamlet’s faithful friend. ANW regular Mark Bramhall, as well as newcomers Jacob Sidney and Demond Robertson do what they can as the Player King, Guildenstern and Player Queen, respectively, among other roles. Matt Jaeger doubles as Rosencrantz.
From the gleaming Plexiglas setting and eclectic costumes of Sara Ryung Clement, with lighting by Peter Gottlieb, to the unusual sound design of Kari Rae Seekins, one feels Michetti’s hand in almost every aspect of this production. John Pennington adds simple movements for choreography. A Noise Within’s usual, professional technical realization serves to buoy up a world that does, indeed, feel “out of joint.”
A Noise Within’s Hamlet performs in repertory with The Rainmaker and Charles Dickens’ Oliver Twist at 234 S. Brand Blvd., Glendale 91204, for 9 more performances from November 12th at 8:00 P.M. through December 7th. See www.anoisewithin.org for complete schedule. Tickets from $40.00 to $44.00. Phone (818) 240-0910 or purchase online.