Even if you’ve seen "Hamlet"
dozens of times, you shouldn’t miss Working Mutt Production’s
site-specific presentation at their new space – the basement
of a turn-of-the-century opera house in Bedford-Stuyvesant. The
former theater is currently under renovation, as it is being
turned into a 21st-century apartment complex, and the basement
where the play unfolds seems to be the repository for all the
junk that was once in the building.
Director Charlie Sargent has made wise and innovative use of
the space, taking the audience from one shadowy, musty, dungeon-like
room to another as he explores the dark recesses of Hamlet’s
mind. In this way, some of the play’s most famous scenes become
eerily alive. The gravediggers sit atop a pile of discarded bricks.
As Claudius prays, his new stepson (and former nephew), Hamlet,
appears behind him, his body slowly appearing as he descends
a narrow staircase. Hamlet’s father remains forever in the shadows
of damnation. And the pervasive decay is, in fact, the state
of Denmark.
Liz Sargent’s set design is truly brilliant. But even with this
extraordinary confluence of place and play, "Hamlet"
can only succeed with great acting, especially in the title role.
The director, himself a graduate of North Carolina School of
the Arts (NCSA), has relied heavily on fellow alumni.
Lucas Hall, a recent graduate of the school, gives Hamlet all
the contradictory qualities of youth older actors so often don’t
understand or fail to convey adequately – indecision and impulsiveness,
cynicism and idealism, assertiveness and dependence. Hall makes
Hamlet not only believable but also familiar. He is a bewildered
young man overwhelmed by the adult world. It is the great tragedy
of his life that by the time he grows up, it is too late.
If Hamlet is the obvious hero of the play, critics and directors
are still debating who the villain is. In this production, Sargent
seems to believe it is Polonius (Jeff Burchfield), counselor
to the king. Conniving and ambitious, this Polonius is clearly
in command.
Polonius, who, like Claudius, wears a business suit (Tara Hawks,
with a BA from NCSA, is costume designer), is the archetypical
avaricious CEO. He is more concerned with his personal welfare
than the finances of his company. To make the relationship between
his actions and his pocketbook perfectly clear, Sargent has Burchfield
constantly transferring his loose change from hand to hand, so
much so that his death comes as a welcome relief from that irritating
jangling!
Robyne Parrish (another NCSA product) is a regal but weak Queen
Gertrude (mother of Hamlet and new wife of Claudius). Sargent
appears to be unwilling to explain the psychosexual relationship
between mother and son. Given the numerous ways this aspect of
the play has been tweaked and tormented, this was not entirely
a disappointment. Still, one would like to have seen a little
more depth in the role.
However, one of the nicest surprises in this production was Jerry
Miceli’s interpretation of Polonius’ son, Laertes. Miceli (also
of NCSA) plays Laertes with such sensitivity the character becomes
as much a tragic hero as prince Hamlet. As the two young men
lie dead at each other’s hands, the play becomes a double tragedy.
If Hamlet has lost a father, Laertes has lost a father and his
sister (Ophelia). What’s more, he does not have to be prodded
into action. He knows his duty and doesn’t hesitate to do it.
If Hamlet had been so decisive, there might have been a lot less
bloodshed. (There also would not have been a play.)
As something of a traditionalist, this reviewer is loathe to
say it, but this "Hamlet" was sorely in need of additional
cutting. Shakespeare’s plays are already long by modern standards
and this one is his longest, but add to the running time the
many moves of the audience from set to set, and by the end of
the three-hour-long play, it’s a tossup who is wearier, the audience
or the actors.
With this said, if you’re in good health and sure of step, don’t
let the length of this show dissuade you. "Hamlet"
may never be presented by a more dedicated and talented group
of young professionals.
"Hamlet" runs through Oct.
30, Thursday through Saturday, at 7:30 pm, at Opera House [27
Arion Place at Broadway in Bedford-Stuyvesant]. Tickets are $10
in advance, $15 at the door. Reservations recommended. For reservations,
call (718) 573-0433 or www.workingmuttproductions.org.
