Reviewed by Barry Lenny, Friday 8th April 2016
Independent Theatre Company are taking on one of Shakespeare's most bloodthirsty plays,
Hamlet, with a young cast who are nearer to the ages of the characters than are often seen in productions of this play. This is a bold move by artistic director, Rob Croser, but this is precisely the sort of thing that we have come to expect from him and this company, which is why it has a large and loyal following.
Hamlet, the Prince of Denmark, is studying philosophy in Wittenberg, in Germany, when he hears that his father is dead. He returns home for the funeral and there his father's ghost tells him that he has been murdered by his own brother, Hamlets's Uncle Claudius, who has already married Hamlet's mother, Queen Gertrude, to become the new king, usurping Hamlet's rightful place as the ruler of Denmark. Commanded by his father's ghost to avenge him, Hamlet seeks revenge on his uncle. By the end of the play, most of the cast are dead, leaving only Hamlet's closest friend, Horatio.
There is a play within a play, when Hamlet engages a theatrical ensemble to play out a drama that he has written for them, designed to show his mother and uncle that he knows everything and expose them publicly. There is also the challenge of choreographing realistic sword fights, to accompany numerous other deaths from stabbing, poison, and a broken heart that leads to madness and suicide. Hamlet has something for everybody.
The first to die at Hamlet's hand, through an unfortunate circumstance, is Polonius, Ophelia's father and, shattered by Hamlet's rejection then, distraught at her father's murder, Ophelia loses her mind and drowns herself. Her brother Laertes, now wants his revenge on Hamlet. It all comes to a head when Laertes and Hamlet duel. Laertes has put poison in the tip of his fencing foil so that the slightest scratch will kill Hamlet. Claudius has a poisoned chalice of wine which he encourages Hamlet to drink, but Gertrude drinks it. Laertes cuts Hamlet, the foils get switched and Hamlet scores a hit on Laertes, dooming them both. As Gertrude dies, revealing the poison that Claudius has put into the drink, and Laertes explains the poisoned foil tip, Hamlet takes it up and pierces Claudius. Hamlet is the last to die, in the arms of Horatio.
Croser is always very careful with his casting and in the title role he has Will Cox, a regular performer with the company with a string of successful lead roles behind him, all for the Independent Theatre Company. No chances have been taken there, nor with the role of Ophelia, filled by Madeleine Herd who recently appeared in a leading role in The Great Gatsby. Romeo and Juliet were not the only star-cross'd lovers in the Shakespearean canon. Both Hamlet's and Ophelia's families are wiped out in Hamlet's thirst for revenge.
In spite of the extensive theatrical experience of Will Cox, this is a major leap from his past roles, and the first time that he has appeared in a Shakespearean play, let alone playing the lead role in one. He comes up smelling of roses, delivering a stunning performance as the young prince. His characterisation is rich and emotionally deep, and his understanding of his lines is obvious. There is a fine physicality to his performance, and convincing work with the rapier in the duel scene with Laertes. His performance is remarkable in such a young man, the role usually being played by much older actors who have already played a great deal of Shakespeare before being offered such a complex character. Cox can match any of them.
Madeleine Herd is captivating as Ophelia, another young performer making an attempt at a difficult role normally played by older actresses with years of Shakespearean experience. Like Cox, she has it all in hand, with the ingénue at the start of the play developing into a more emotionally battered Ophelia and, of course, ending with that famous mad scene. It would be easy to think that she had been playing the role for years from her interpretation such was her intelligent and committed performance.
It hardly needs saying to anybody familiar with Independent Theatre that David Roach, co-founder of the company, was marvellous as Polonius, the father of Ophelia and Laertes, adding yet another wonderful performance to his very long list of successes. His Polonius is self-important, even pompous, yet foolish, but Roach avoids stereotypes and present a fully developed character who we feel pity for when he dies. He also plays the gravedigger, and fills the theatre with laughter at this comic interlude that Shakespeare uses to relieve the tension, briefly, with a string of very clever word plays.
Paul Rodda portrays both the evil uncle, Claudius, and the ghost, in a pleasantly surprising restrained performance, eschewing the flamboyance of some of his earlier performance. His Claudius is a mature and considered interpretation. Not for the first time and, I am sure, not the last, have I seen actors make a huge leap forward under Croser's direction and it has happened here. There is power and strength in Rodda's Polonius, and a barely concealed anger, with menace only just below the surface at all times. It is buy far the best work I have seen from him.
Bronwyn Ruciak, a regular with Independent Theatre, and constantly in demand with numerous other companies, turns in yet another superb offering as Hamlet's mother, Queen Gertrude. With not a word, when Hamlet and Claudius are at loggerheads, she conveys Gertrude's emotional turmoil being caught between the love and loyalty for her new husband, and her son. Ruciak has great command of that rare ability to make microscopic changes to her facial expressions and physical demeanour that convey volumes.
Laertes and Guildenstern are both played by Jett Zivkovic, but you will need to look closely to notice that it is not two actors in the roles. His Laertes, in particular, is notable for the transition from Hamlet's good friend, to the enraged young man who wants the life of the man who took that of his father. He and Cox are well trained in the use of the rapiers, giving a thrilling duel near the end of the play.
Another regular performer with the company, Shedrick Yarkpai, who played Othello not long ago, plays Hamlet's faithful friend, Horatio, providing one more very creditable performance to the production, showing his own, and generating within the audience, some most tender emotions at Hamlet's passing.
Allen Munn has a long history in theatre and his portrayal of the Priest and, more so, the Player King, are fine examples or, to use an educational term, exemplars, for young actors to watch closely and learn from.
Jordan Carling plays Rosencrantz and Osric, Stephen Schofield is Lucianus, and Mark Mulders plays the Player Queen and Marcellus, but there are only small roles, and no small actors in this production. They acquit themselves well. Mulder reminds us that women in Shakespeare's time were played by men, and there are no attempts made to garner cheap laughs, just solid acting.
Croser made the decision to cut all reference to the conflict between Denmark and Norway, and Fortinbras gets a mention in just one sentence. He has put the focus entirely on the familial conflicts. In so doing he has intensified the tensions and emotional upheavals. At the same time, he has teased out the essential elements of the Bard's play, bringing a clarity that makes it more approachable for newcomers to Shakespeare's magnificent works, and offering a new and exciting version for those who have seen the play man ytimes..
Croser and Roach have designed a minimalist set based around a large, raked black disc that sits between the proscenium arches of the theatre, creating a thrust stage out of half of it, thus enlarging the performance area. Everything around it is black and imposing, highly suited to the drama that will unfold. Scene changes are almost instant, with little or no furniture on stage to be added or removed. This helps substantially in maintaining the impressive pace of this production. Susan Grey-Gardner's lighting design is not merely about letting us see the actors. It is a work of art in and of itself, with shapes and shadows that engulf the audience, drawing us into the unfolding tragedy. The costumes, with variations on a Nehru jacket for both sexes, look superb, too, a credit to the team who made them.
Do not miss this fascinating and intellectually engaging production but, at the same time, be assured that it is very engaging and, as all theatre should be, entertaining. Don't delay in booking tickets. Opening night was full, and the rest of the season thoroughly deserves to be the same.
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