All photos by T. Charles Erickson
By Geary Danihy
Over the centuries, critics and
playgoers alike have had, if not problems, at least questions about “Hamlet,”
most centering on the eponymous character himself. Chief among these
“questions” is the prince’s apparent madness – is it pretense, real, or a
little bit of both? The current production of Shakespeare’s tragedy at the
Hartford Stage, under the sure-handed, creative guidance of artistic director
Darko Tresnjak, appears to answer this and many other questions. This
illuminating and totally enjoyable night of theater gives us a Hamlet for the
twenty-first century while staying true to the Bard’s original intentions. It
is a must-see production for theater-goers of all ages, but especially for
students who think Shakespeare is “boring!”
The answer to the question posed
above is in the form of Zach Appelman’s take on the prince. Many fine actors
have played this role, some well into their careers, so we often forget that
Hamlet is a stripling, a student, a bright, somewhat opinionated, sharp-tongued
college student – you know, someone who perhaps over-indulges in a beer hall,
is full of his new-found knowledge and revels in his rebellion against those
who have made the mistake of becoming adults and therefore, by definition, are
either hypocrites or phonies. Yes, there’s just a touch of Holden Caufield in
Appelman’s prince of Denmark …and
it works, so much so that laughter often punctuates the evening, something
seldom heard when attending a production of “Hamlet.” Appelman, under
Tresnjak’s focused direction, has given new life to a character often made ponderous
by an over-emphasis on brooding, self-doubt (even self-hatred) and oedipal
urges.
Kate Forbes and Andrew Long
Yes, Appelman’s Hamlet is
conflicted, but that doesn’t stand in the way of his taking a certain perverse
delight in playing the role of the aggrieved son of a murdered father, for
Hamlet, as is readily apparent in the scene with the troupe that has arrived at
Elsinore to entertain, has thespian tendencies, and these tendencies are part
of what leads to Ophelia’s suicide and the violent end of the story. It has
often been suggested that Hamlet’s “tragic flaw” is his propensity for
hesitation, but in this production it becomes apparent the “flaw” is that
Hamlet is, at heart, just a boy, a very smart, perceptive boy, but a boy just
the same, and the ghost of his murdered father, who demands that his son avenge
his murder, thrusts Hamlet into a world of adults that he comprehends all to
well intellectually but is ill-equipped to deal with emotionally. Hence, Hamlet
does what many a young adult would do in this situation, he takes on roles,
multiple roles to fit the moment, and derives a certain delight in the
play-acting.
Appleman is supported by a strong
cast, with James Seol as Horatio, Andrew Long as King Claudius, Kate Forbes as
Queen Gertrude and Brittany Vicars as Ophelia. It is, however, Edward James
Hyland, as the pontificating Polonius, who most ably helps to define Hamlet’s
character, for if Appelman’s Hamlet is the essence of brash youth then Hyland’s
Polonius is the antithesis, an adult, perhaps once a brilliant student, who has
become enamored of his own wisdom and words, a man Hamlet makes fun of yet, seeing
this production one gets the sense that if Hamlet had lived and aged into his
semi-dotage he might easily have become a Polonius – they are the yin and yang
of the same character: full of themselves and eager to dispense their versions
of “wisdom.”
Edward James Hyland and Brittany Vicars
Tresnjak, who has done double duty here
as scenic designer, has been guided by the idea that “the play’s the thing,” so
the minimalistic set (save for the dead king appearing astride a horse – an
arresting moment), consists of a raised platform, top-lit and illuminated from
below by lighting designer Matthew Richards, that resembles a Celtic cross, a
cruciform framed by three black benches. Except for a chandelier that descends
to signify court scenes and faux proscenium arches that frame the traveling
actors’ play within a play that captures “the conscience of the king,” the
stage is left to the actors to create the world of Elsinore ,
which they do brilliantly, garbed in glorious period costumes by Fabio Toblini.
There are those who deem themselves
“purists” – whatever that means – who may find Appleman’s Hamlet a bit too excessive,
a bit too flippant, and might quote Hamlet’s own words to the traveling actors
as a criticism of Appleman’s somewhat hyperactive prince: “Nor do not saw the
air too much with your hand thus, but use all gently, for in the very torrent,
tempest, and (as I may say) whirlwind of passion, you must acquire and beget a
temperance that may give it smoothness.” But Appleman’s gestures, his artifice,
his antsy feet and limbs, are all of a piece with the idea that his Hamlet is
playing a role, although the role-playing soon takes on a life of its own and
carries the young prince far beyond his nascent understanding of the situation.
Wrapped up as he is in the thrill of the artifice he has little awareness of the
impact his actions have on others.
Adam Montgomery, Floyd King (center)
and the cast of Hamlet
and the cast of Hamlet
All in all, this is a vibrant,
artistic rendering of Shakespeare’s most psychologically perceptive,
challenging play. Tresnjak and company give us a “Hamlet” that some may find
disturbingly off-center, but for others, this is a “Hamlet” that reveals
aspects of the play that have heretofore not been given full consideration. In
the end, we are presented with the idea that “Hamlet” is about “theater” as it
manifests itself in our daily lives. Thus, there is a play within a play within
a play, with Hamlet the playwright, the protagonist and, tragically, the victim
of his own creation. Ophelia’s corpse and the bodies strewn on the court floor
at the end of the play are testaments to the lethality of artifice, play-acting
taken too far -- something callow youths are prone to do as they become enraptured
by their enthusiasms or captured by their bedevilments.
“Hamlet” runs through Nov. 16. For
tickets or more information call 860-527-5151 or go to www.hartfordtsage.org.
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