Hamlet
Having heard that multi-award-winning director, Jessica
Kubzansky, considers "Hamlet" to be one of the greatest plays ever
written, it's not surprising to learn she's had an obsession to
direct it for over a decade.
What IS surprising is the fresh unfettered interpretation
Kubzansky achieves when she finally gets her hands on it. You
have to drive to Ojai to see her version of this masterpiece (now
on stage at Theatre 150), but it's worth every mile of the trip.
Readers of this theater review have undoubtedly seen more
productions of "Hamlet" than they can remember. So here's a hint
to the wise: Try to forget what's etched in your brain and experience
this production without preconceptions.
Gone are the presentational Shakespearian prototypes that have
evolved over the years, such as those inspired by John Barrymore
and Lawrence Olivier. No more "To be or not to be" overly dramatized
monologues; or doddering Polonius pronouncements as memorized in
college classes; or naive, unexplained obedience by meek Ophelia; or
the stark, black actions of wicked Claudius.
In their places are alive, dynamic characters whose complex,
interwoven, human relationships in 16th-century Denmark are
threatened by dangerous changes taking place all around them.
Stop and think about it.
Hamlet was just a teenage university student, after all. Then
overnight, this kid is yanked home to Denmark because of his
father's death, and thrown into a maelstrom of events he can not
control. Before he can comprehend what's going on, his mother
marries his uncle, Claudius; and the ghost of his father appears
to reveal that he was murdered by his brother and demands revenge.
Under Kubzansky's passionate, razor-sharp direction, the tragic
story unfolds so close to the audience it feels as if we're on Kurt
Boetcher's set with the actors. The action cuts straight through
the middle of the theater, augmented by Jeremy Pivnick's foreboding
light design and Randall Tico's powerful sound.
Kudos to everyone involved with this astonishing production.
Headed by Leo Marks (who is remarkable in his heart-breaking
portrayal of a serious young man overwhelmed by events), the
25-member cast is so dynamic the action never flags.
Unexpected is the characterization of Polonius, who is performed
beautifully by Tim Cummings. Although he remains a doddering old
fool when he offers obvious advice to the court--and is tender and
playful with son Laertes (nicely played by Brendan Bradley); Polonius
is cruel, even brutal, to daughter Ophelia (the superb Danielle Jones),
whom he dominates unmercifully.
From this perspective, there is no doubt why she fearfully obeys her
father's orders without question and goes mad because of their
consequences.
Also outstanding are Paul Sulzman as Claudius, the new King,
and Lee Ann Manley as Queen Gertrude, his new bride.. Claudius
admits that ego, greed, and lust were the sinful causes of his downfall,
but he is genuinely guilt-ridden and prays for forgiveness. As for an
explanation of Gertrude's actions: in spite of Hamlet's raging accusations,
she accepted her lot because in 16th-century Denmark the role
of women was subservient to, and dependent upon men.
Everyone knows the tragic ending of the Prince of Denmark, but
seldom has the story been plumbed so deeply, or treated with
"slings and arrows that flesh is heir to" which continue to resonate
as part of the human condition.
"Hamlet" continues at Theatre 150, 316 E. Matilija St., in
Ojai, through Aug. 8. Performances take place Thurs-Sat., 8:00 pm
and Sun., 2:00 pm. when tickets are 2-for-1. For reservations,