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POSTED: 11 MAY 2009

Hamlet

(Harlos Productions | Bondi Pavilion, Sydney | Until 30 May)

I’m rather embarrassed to admit that this production of Hamlet is my first experience of Harlos productions, although they have been in operation since 1982. I’m also a little peeved. Damn! What have I been missing out on?

Hamlet is arguably the most famous play of all time. One hears phrases throughout that have become part of our lexicon. It is an iconic tragedy. Yet often the challenge remains to make it relevant to an audience beyond grudging HSC students and regular Shakespeare devotees.

Director David Ritchie has succeeded brilliantly in making Hamlet as timely a study as ever in revenge, integrity, and the moral dilemma faced in choosing between these forces.

Ritchie’s credentials as director, actor and lecturer on Shakespeare are remarkable. This is a man who knows Hamlet. He has lovingly teased out the humour, humanity and universality of this tale, adding fresh nuance to its timelessness.

Set in modern times, Denmark’s monarchy has been usurped by far right/neo-nazis. Black, red and flashes of swastikas prevail. Staging is sparse and the entire theatre space is used to good effect.

The original text has been edited to reduce playing time with no major disruption. Small additions enhance, such as timely interjections — and in one case, a beautifully executed expletive. Ritchie’s choice for the placement of interval amusingly and audaciously creates a ‘cliff-hanger’.

Many of the cast assume multiple roles, and two actors share the part of Hamlet on alternate nights. Damien Ryan’s affiliation with Shakespeare is extensive and impressive. The night I attended Angela Bauer was performing, continuing the trend for fine female actors to tackle Shakespeare’s males.

Bauer fully inhabits the character of Hamlet. Having played the title role in a previous Harlos production, she brings an obvious wealth of knowledge and experience to his tortured ravings, as well as the confidence and physicality to play with his humour and sensuality.

Bauer’s slight frame lends an appealing vulnerability to the character, yet her powerful stage presence continually draws the eye. Micro-expressions play across her face like quicksilver. She invites the audience to conspire in her pretence of madness.

The duel between Hamlet and Laertes (Marcello Fabrizi) is breathtaking in its precision and daring. Congratulations to Patricia Cotter for her choreography.

The cast is universally strong and engage well to keep the action flowing. The comic timing of Marcello Fabrizi’s Rosencrantz and Ben Wood’s Guildenstern is superb, and makes their later scenes even more ominous. Barry French as Polonius aptly conveys his officiousness and pomposity while creating a most humourous and charming interpretation of the character.

My first experience of Harlos, but definitely not my last. In fact, I’m going again next week.