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POSTED: 13 MAY 2009

Hamlet

(Genesian Theatre, Sydney | Until 20 June)

I’ve noted in previous reviews for the Genesian how much I love this venue — despite the limitations of the stage and the fact that the foyer fits about three people comfortably (luckily every time I’ve gone the weather has been kind so we could spill out onto the street). The atmosphere is wonderful and Genesian’s attention to detail from the foyer onwards truly sets up a “night at the theatre”.

Hamlet is an ambitious project for any company. It is so well known and loved (or hated by stressed HSC students) and so demanding that it is a real test of commitment for everyone involved, from actors to crew to design — and of course the director.

Roger Gimblett’s direction is traditional and faithful to the text, with judicious editing to reduce playing time. This editing does not affect the flow or meaning, and for the benefit of student viewers there is information in the program as to what has been omitted.

The staging is minimalist, dark, and very well conceived in terms of the constraints of the performance space. Owen Gimblett’s design addresses the complexities of changing scenes with obvious knowledge of the text and the needs of the actors.

The use of haze during the ghost scenes was effective at first but did become distracting during Old Hamlet’s soliloquy, as the need to supplement the haze resulted in a loud “pffft” from the machine each time. I’m sure more inventive minds than mine could come up with some alternative!

Leon Richardson as Hamlet looks every inch the part — brooding eyebrows, wild hair, classically handsome. That anyone can remember all Hamlet’s lines is in itself an achievement, but adding in the essential drama and humanity requires energy and focus that would drain any performer. Being opening night, I feel Richardson was running on adrenaline and at times the drama of the part was secondary to the demands of the script. When Richardson allowed himself to fully embrace Hamlet’s spirit there were flashes of intensity that were tremendous.

Andrew O’Connell’s Horatio was a steadying and faithful friend to Hamlet, and his final speech was heartfelt. Danielle Cooper poignantly portrayed the vulnerability and emotional decline of Ophelia.

Robert Drew as Polonius was a fine study in the character’s officious manner, but could have made more of his pompous humour.

Kyle Rowling’s direction of the fight scenes, in particular the duel between Hamlet and Laertes, was extremely well executed — especially considering the size of the space.

The use of music between scenes and occasionally behind dialogue often worked, but occasionally was distracting and overly loud.

Genesian’s Hamlet has a long season and hopefully the players will use this time to continue to explore and become more comfortable with their characters. Shakespeare’s beautiful language and word play offers much to be discovered and slight changes in timing and emphasis can make a world of difference in its accessibility to the audience.

This would certainly be an excellent place for schools to commence their study of Shakespeare’s enduring tragedy, especially if students have never seen live theatre of this type before. There is nothing like experiencing actors portray these timeless characters in the flesh.