Review: HAMLET is a Haunting Spectacle at DCPA

There are quite a few staples to Shakespeare. A rather on-the-nose setting of the scene, an inciting incident that furthers debauchery, off-screen plot development, sidekicks, and a hatred for women are just a handful of general expectations. In the DCPA season opener, The Bard of Avon's Hamlet has the makings of a great story - a lot of plot points that will, at some point, add up to something climactic. The issue, though, are the clunkly in-between moments that only elongate the process. I'll say this, however, DCPA's way of perfomring Shakespeare is, generally speaking, incredibly accessible and easy to understand through its delivery. Gone are the days of the Iambic pentameter - well, almost.

Directed by Chris Coleman, there is certainly something ominous about DCPA's production of Hamlet. The scenic design by Chika Shimizu makes the already large space feel way bigger due to the use of minimal color, creating stone walls that feel like they tower over the audience. Making the space feel so grand is reminisncent of a Sight and Sound Theatre space, for those familiar. Costume Design is always a highlight of DCPA productions and Meghan Anderson Doyle's work is no exception. I appreciated the Danish cutural influences in the costuming that were a great complement to the scenic design. Plus, the wigs were incomprable.

With Shakespeare, the added production elements are nice but the work and the words must stand on their own, just as they have for centuries. DCPA is great at maintaining a certain standard of professional work, but in truth, I felt the performances were a bit of a mixed bag. Among those who I felt missed the mark is Seth Andrew Bridges as Horatio. As Hamlet's best friend (sidekick), Bridges lacks a point of view in Horatio. I never found myself relating to the character. It felt like there was a missed opportunity to drum up the kinship between Horatio and Hamlet to establish a true friend and confidant. Maeve Moynihan as Ophelia feels like she is in her own production of Hamlet that leans more traditional in delivery while everyone else is leaning contemporary. It stuck out like a sore thumb. All that being said, Moynihan's brief showcase of vocal prowess was *chef's kiss*. Also to her credit, Shakespeare had a habit of doing women dirty in his plays so perhaps my experience was simply that of a female character written through a male gaze. Who can say?

There were plenty of performances, though, that were "locked in" as the kid's say. Brian Vaughn offers an interesting portral of Cladius, the newly appointed King following the unexpected death of his brother and former King. The play sets him up to be the villain in the plot, but Vaughn's take on the role is something more nuanced. In the titular role, Ty Fanning hits a home run as Hamlet. Fanning perfectly exhibits a range of emotion from Hamlet that ultimately adds up to the idea that multiple things can be true. His father was murded by his uncle who took the throne and his mother to wife, and Hamlet is depressed, manic, and bipolar. Fanning's portrayal had me saying, "Oh, but he's actually crazy though..."

All things considered, I still felt like something was missing from the production. Mainly, there was a lack of energy beneath the foundation of the show. There was nothing there to act as a driving force from beginning to end. With a 3.5 hour-long runtime, plus intermission, it began to drone on and on. Eventually, we reach the end which ties up with another Shakespeare staple: death.

Hamlet runs at DCPA through October 6, 2024.

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