Hamlet
Riding high from last year’s triumphant season, it is fitting then that Theatricum Botanicum tackles the Bard’s most challenging but beloved tragedy. A perennial favorite, (both the venue and the play), this no-frills version avoids any emotional excess or psychological wallowing. While the complexities of the characters are not always sufficiently mined, the direct but eager performances ring true with refreshing honesty. There are no gimmicks or sleight of hand approaches in Ellen Geer’s keen direction, lending this production a more accessible feel.
A play that speaks to the duality of each character, the company gives Hamlet two turns with UCLA alums Mike Peebler and Jeff Wiesen alternating in the roles as well as the roles of Gertrude and the Player Queen played by Melora Marshall and Susan Angelo. Depending on which show you attend it is possible to experience a vastly different “Hamlet” given the pairings. Along with the double casting, there are both evening and afternoon performances that creates another sort of mood and atmosphere. With all of these possible scenarios, it is almost impossible to choose just one and with the exceptional talents of these actors I encourage seeing it twice to appreciate the full breadth and depth of this seasoned, multi-talented cast.
For the purpose of this review, I will be commenting on the evening performance with Peebler as Hamlet and Marshall as Gertrude and the other actors in their subsequent roles.
There is no point in delaying the obvious when it comes to “Hamlet.” The Prince of Denmark has a way of swallowing actors whole and with any luck, spitting out moments of brilliance here and there but the sustainability is usually lacking. I can safely assure anyone that this is not the case here in Mike Peebler’s outstanding portrayal. If anything, he makes the role seem effortless, barely breaking a sweat until the end of Act I when most actors are gasping for breath. Peebler’s Hamlet lacks self-consciousness while retaining an awareness and sense of justice to right the wrongs and revenge the murder of the former king, his father. This Hamlet, however, does not sulk or throw temper-tantrums—a seductive choice that often lacks maturity. Here, we have clear motivations for why Hamlet does what he does, more importantly, we believe him. Peebler also finds moments of sheer frivolity, particularly when he’s roughhousing with Rosencrantz and Guildenstern (Jonathan Blandino & Ben Acland) and taunting Polonius, comically played by Carl Palmer. Finally, Hamlet’s years of study abroad seem to have paid off in Peebler’s carefully revealed thoughtful soliloquies that enhance rather than distort the character’s conscious decision to act as he weighs the consequences of these actions.
If there is anything lacking in Peebler’s Hamlet, it is the sensuality otherwise lost in his fine dichotomy. He treats Ophelia, splendidly chastened by Willow Geer, as an afterthought—until her betrayal comes across as mere evidence—proof that the people closest to him are what’s rotten in the state of Denmark. Not a terrible choice, indeed one could argue Peebler plays this side of Hamlet as written. Yet, the lack of emotional connection aggravates the reason for Ophelia’s breakdown. Her insanity, sweetened by Geer’s melodious voice, is a grief-stricken daughter and not a guilt-ridden, spurned lover whose father’s death pushes her over the edge. Even as Hamlet proclaims his love for his lost Ophelia to Laertes, it comes across as competitive and hollow. Again, if this is my only quibble I’ll take this Hamlet over many others.
The rest of the cast delivers strong yet surprising turns with their characters. Melora Marshall’s Gertrude is a weak-willed woman enchanted by her new husband and former brother-in-law’s appealing charms. She is seemingly irritated with Hamlet for bursting her bubble, and this in turn makes Marshall’s queen far more culpable to her husband’s murder. An interesting choice supported by Aaron Hendry’s suave yet doting Claudius. One almost gets the sense that these two lovebirds may have been in cahoots all along, as when Hamlet reveals the truth to her she appears to weep not for her husband, but for Claudius. And who can blame her here? I’ve yet to see a more likable Claudius. He’s the sort of affable, backslapping fellow everyone wants at the party or in this case—the court. So what’s one teeny-weenie little murder? It almost works. Kudos to Hendry for making a brave and unique choice, but at some point the duality must be evident or else it is hard to believe this character could kill his brother in cold blood. The pivotal confession for Hendry to reveal the uglier nature to Claudius—power-hungry, scheming, insincerities are all but lost in the remorseful and sensitive justification of his actions. You feel sorry for him, like a maligned stepfather stuck with a bad kid. Nevertheless, this character is a bit too liberal with the poison to garner any sympathy even with Hendry’s powerful persuasions.
Alan Blumenfeld is a solid Marcellus, but his Gravedigger is nothing short of adorable. Sure, he wisecracks with the best of them, but he’s more heart than a lot of capricious yap. Susan Angelo gracefully infuses the Player Queen with lovely tableaus against Tim Halligan’s sure-footed Player King (also haunting as the Ghost). Stefan Tabencki gives Horatio a youthful innocence that demonstrates his loyalty to Hamlet at the end. And if Jeff Wiesen’s Hamlet is as good as his Laertes then I am tempted to see this again.
I encourage audience members to see the evening performance as it increases the somber mood with excellent lighting by Michael Mahlum. Costumes by Val Miller fit the period and perfectly distinguish each character memorably.
There will never be any shortages of “Hamlet” but no matter how many times we see him, it should feel as if we are meeting him for the first time. Mike Peebler received a much-deserved standing ovation the night I attended, and his Hamlet is one that keeps bringing us to the theatre to hear his “words, words, words,” echoing throughout the canyon.
“Hamlet”
The Will Geer Theatricum Botanicum
Runs through Oct 2
1419 N. Topanga Canyon Blvd.
Topanga, 90290
(Midway between PCH & the 101)
PH: 310-455-3723
www.theatricum.com
Be advised to dress warmly for evening shows.