‘Hamlet’ @ The Classics Theatre Project
Photo By Kate Voskova
—Jan Farrington
I am but mad north by northwest;
I know a hawk from a handsaw….
Sitting down to review a Hamlet—any Hamlet—puts a writer on high alert. Standing in the full blast of Shakespeare’s brilliant play, what is left to say?
But the Hamlet onstage right now from The Classics Theater Project gave me an odd sense of calm. Not that the play and production themselves are calm—this is still that twisting, violent story—but because, in a small room furnished with four black kitchen chairs, the same great reckoning takes place. Who needs a broad stage in London or New York? Hamlet in the old Stone Cottage, in a space the size of my den, uses the tight quarters as an asset, drawing us skin-close to the action.
This has the added effect of pulling us close to the words as well. The delivery of Shakespeare’s lines is, I think, slowed down a bit, particularly in the title role; it doesn’t lose intensity or energy, but makes sure we understand who’s saying what, and what it means. If you have a young Shakespeare fan to introduce to this play, bring her/him to this one.
Director Joey Folsom has pulled together a fine cluster of acting talent (many familiar from other TCTP shows)—starting with young Noah Riddle, who as Hamlet is every inch the nerdy college student, with a young man’s thin moustache and a pair of scholarly eyeglasses. He has a thousand-yard stare as he semi-ignores his mother Gertrude (Cheryl Lowber) and uncle Claudius (Stephen Miller) at the opening of the story. Hamlet is packed and ready to return to his studies in Wittenburg. The new King and Queen ask him to stay, though he wants to get away from all this: his father’s sudden death, his mother’s marriage to her husband’s brother—so quickly that the “funeral meats” showed up at the wedding feast too.
The royal court of Denmark is, naturally, crowded with courtiers, guards, gravediggers (well, one), visiting friends, even a troupe of traveling actors who come in handy.
And a ghost…whose sudden apparition on a cold night (accomplished by the simplest of effects) sets our nerves on edge. The haunting of the castle by Hamlet’s father (Anthony Magee, who doubles as the gravedigger) raises the stakes and lends a sudden sense of danger—despite the party-hearty atmosphere emanating from newlyweds Claudius and Gertrude, dancing like sexy teenagers.
Trevor Powell is steadfast and full of heart as Hamlet’s BFF Horatio. Court counselor Polonius (John Pszyk) has a wordy, fast-patter style, whether he’s telling Claudius his latest thoughts about why Prince Hamlet is behaving oddly—or giving his two children an earful on how to be smart and safe in this tricky world.
Upright and watchful Laertes (John Cameron Potts) and confused, lovelorn Ophelia (Jordyn Pierson) are nearly adults He is leaving for studies overseas; she’s been involved in an on-again, off-again flirtation with the Prince. The brother and sister have a warm relationship, and Laertes asks Ophelia to watch herself with Hamlet, whose “intentions” toward the girl are up in the air.
Director Folsom adds a twist to the roles of Rosencrantz and Guildenstern (Kathryn Forbes and Alexander Delacruz-Nunez), visiting college friends come to see Hamlet. In this production, their names can’t be confused for comic effect—because Prince Hamlet doesn’t like one of them, not even a bit.
In the roles of soldiers and castle “staffers” Reynaldo (Devin Johnson), Marcellus (Dakoda Taylor), and Bernardo (Michael Miller), the actors show us their multi-level connections to the royals: not just “go-phers” or guards, they know these royal folk and nobles, have opinions, feel emotion. Lauren Baker is graceful as the Player Queen, and gives good side eye as a blonde courtier with a yen for…somebody. And in the double role of Gravedigger and Player King, Miller is casually comical with Hamlet, and chews the stage scenery as the bombastic and wildly gesturing stage veteran.
Effective sound and music choices (from John Cameron Potts) add to the atmosphere. There’s a fast, intense sword fight (very satisfying) between Laertes and Hamlet —and in fact, the entire bodies-dropping final scene is played with startling speed. One minute they’re all standing there…and in moments, it seems, the stage is full of the dearly departed. And the round of applause begins with someone we’d never expect to start it.
A simple, extremely effective Hamlet, with points off only for a few moments where actors try to take intimacy a step too far: both Hamlet and Polonius like to whisper lines just a few skin layers from other character’s faces and ears. If we didn’t know the play by heart, it might be a problem. But in almost all instances, the twists and turns of the story, the stunning monologues (Riddle is masterful at showing us exactly why each one is perfectly placed in the story) and the complex language are rendered with marvelous clarity and understanding.
Buy a ticket. The rest is silence.
WHEN: October 25-November 23, 2024 [PLEASE NOTE: Actor Sinan Beskok plays Hamlet on Nov. 9, 15, 15, 17, and 25)
WHERE: Stone Cottage, 15650 Addison Rd., Addison TX
WEB: theclassicstheatreproject.com
