This production was set in the Elizabethan Age, with traditional period costumes. Polonius sported a neck ruffle, while Claudius spent the entire play in what could have been a well-worn bathrobe. The stage was minimally decorated, but its levels and niches worked extremely well. As it turned out, the height of the upper levels was a huge benefit. The chamber scene was performed on one of these upper levels. It was at that point of the evening that the rain, while not heavy by any stretch, became too much for an obnoxious couple several rows ahead. They opened their umbrella, thereby obstructing the view of numerous patrons behind them. One patron even mentioned this to the couple, who ignored him and continued to obstruct the view. Eventually the mist stopped and they put the umbrella away, restoring some sense of normalcy to the evening.
The script was edited very adeptly. The intermission followed the "Madness in great ones" line, and action resumed with Hamlet's instructions to the players. There was no mention of Norway. This condensed the play into a story of Hamlet and family and removed parallels with young Fortinbras. Because of this, the "How all occasions" soliloquy was removed. The play flowed very well and the action kept moving and seemed relevant. While poor editing can leave the play lacking, that was not the case here.
Some comments on casting... The actors did an excellent job with their roles. Of note was the role of Polonius. He was neither overly foppish nor overly meddling. In a witty reference to the evening's weather, he looked up at a gloomy sky as Hamlet commented about Ophelia not walking in the sun. There were no age issues as occur sometimes; Hamlet, Ophelia and Laertes all fit. Two obvious variations were the casting of an African-American actor as the Ghost and a female in the role of Rosencrantz.
As to the performance itself... Hamlet's first soliloquy began with a comment about his "sullied" flesh, not "solid." The "rogue and peasant" soliloquy was very well delivered; although audience laughter and applause felt out of place, it was a sign that the speech resonated with them. The "To be" soliloquy seemed shortened, or it just flowed very well into the next scene. The "witching time of night" soliloquy fit perfectly with the weather--dark and cool with a misty rain that had just begun and what could have been bats flying overhead.
The interactions with the players had some novelties. As the "Rugged Pyrrhus" speech was delivered by the first player, other members of the troupe mimed the action to fit the words. Before The Mousetrap, Hamlet's full instructions were left in the acting script. The dumb show was left in the script as well. Oddly, Hamlet did not sit with Ophelia during the play-within-a-play; instead he roamed the stage while delivering his commentaries.
As Claudius and Laertes were discussing the murder plot, Hamlet's letters arrived. I noted that the references to "High and Mighty" and being "set naked" were omitted. Subsequently in a very subtle and clever edition, Claudius begins to describe preparing a chalice and stops abruptly as Gertrude enters. This added a bit of mystery to the duel. What did he mean by preparing a chalice? What did he do to it? The audience is left to wonder.
The graveyard discussion between the gravediggers was shortened; the reference to the gallows was dropped. Additionally, Hamlet's comments on bungholes were removed. In lieu of a funeral cortege, Laertes carried Ophelia to the grave and placed her in the ground. The discussion between Hamlet and Horatio regarding the fates of Rosencrantz and Guildenstern was shortened cleverly--the audience entered in medias res as the characters walked from offstage already in conversation. The exchange with Osric was rather tepid and uninteresting. (Why were two maids mopping the stage with modern mops during the interchange?)
The duel scene was well choreographed. Hamlet and Laertes used both rapier and dagger in the fight. The stabbing of Laertes was excessive and violent, not the usual quick exchange. With Fortinbras out of the picture, the evening's action ended as the stage lights faded to black on "rest."
As I was heading back to my car to leave, I happened to be behind a pair of young gentlemen discussing what they had just seen. One commented on what a great story Hamlet is. I would agree wholeheartedly. It also was great to see Hamlet affecting another generation of playgoers. That's what a great play and a great production can do, and this one was no exception. It was exceedingly well done-- a terrific reason to spend a free evening in the woods.
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