“Hamlet” has been done on every stage in the world, but Nine Theatricals’ version at the 13th Repertory Theatre puts a more modern spin on the action- adding a witty narrator and with a impressive performance by star Matt de Rogatis, it’s able to make itself memorable.
“Hamlet” has always been about a Prince locked in a permanent state of confusion. Is his uncle responsible for his father’s death or was he was visited by the devil? Is he mad or simply pretending? With a small stage and little else in terms of added bells and whistles, director Jay Michaels is able to put together a production that at times marvels because it encompasses all of the things that make “Hamlet” special.
That has everything to do with the performances of de Rogatis as Hamlet and Lorraine Mattox as Ophelia. Emotionally charged and even deranged at times, both performers epitomize their characters and serve as a great first watch for someone who has never seen the play and for those who appreciate Shakespeare.
Speaking of accessibility, the role of the narrator, a first for the production, played by RJ Lamb, is able to keep newcomers interested and adds a noir element to the production. With an almost “Twilight Zone” feel at times, Lamb provides extra energy to already passionate cast.
The same can be said for the booming Brian Patrick Murphy (Laertes) who’s fire and ferocity simply pours out of him. Milton Elliot’s performance as the ghost is also a daring one as his screams alone will haunt you after the performance. While there aren’t any poor performances across the cast, de Rogatis, Murphy and Mattox stand out the most thanks to their energy.
Away from the passion of several performers, this version of “Hamlet” also thrives due to smart behind the curtain decisions. While the Steampunk costumes don’t do much in terms of adding to the drama or making this version much different, Mary Micari’s ambient tunes are chilling. It may be a small touch, but during many of de Rogatis’ more emotional scenes, they make you feel as if you’re the only person on stage with him. The decision to make Rosencrantz (Ali Stover) and Gildenstern (Vanessa Altahuler) female also adds a layer of sex appeal and grit to the production.
So while the smaller stage could be seen as a hindrance for a production with so much appeal and scope, Michaels and an excellent cast make lemonade in a production that in spite of its lack of real audacity, as it is much closer to traditional Shakespeare than expected, takes advantage of several small changes that make it palpable to a new audience and enjoyable to those who wish to enjoy the Bard’s work in a different setting.
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