Shakespeare’s best known play and widely acknowledged as his masterpiece – ‘Hamlet’ – was Director of Drama Keith Packham’s choice for this year’s Lower Sixth play, and the cast and crew certainly rose to the dramatic challenge in thrilling style.
The play’s inherent themes of espionage, police-state surveillance and mental health were clearly at the forefront of this production. Set within a contemporary design concept and featuring a starkly arresting soundscape, the production superbly created a pervading sense of unease and feeling of paranoia. Jack in the titular role gave an outstanding performance of emotional power and verve, capturing brilliantly the melancholic, bitter and cynical student witnessed in the opening scene as well as the contemplative and reflective acceptor of his fate at the play’s denouement. Oli presented the role of murderous Uncle and conniving, usurping brother to Hamlet’s father with unctuous, manipulative charisma, his politician’s sincerity ultimately giving way to severe pangs of conscience at the thought of his ‘rank’ offence.
Andrey as the Ghost of Hamlet’s father gave a truly commanding vocal performance, appearing to physically glide across the raised balcony stage behind a hauntingly cross-lit gauze. One feature of this production was the chilling atmosphere created during moments of the supernatural. Andrey certainly achieved the Ghost’s aim to ‘remember me’ as he implored his son to revenge ‘murder most foul’. Cameron gave a calm and measured performance as Horatio, acting as emotional support and chief confidante to the Prince. Beatrice as Gertrude gave a towering performance of the role of hamlet’s mother, her characterisation indicating a desire for self-preservation as possibly her ultimate and overriding motivation. Her morally frail nature is counterbalanced by moments in which she displays a tenderness towards the much maligned Ophelia and her distraught concern for a ‘much distracted’ Hamlet. Beatrice’s delivery of the ‘there is a willow grows aslant a brook’ speech was deeply moving and affected the audience deeply. Minutes before, Syuzanna as Ophelia had hauntingly captivated the audience during her ‘mad scene’. Bedecked in a wedding veil, escorted onto the stage in a wheelchair, sporting besmirched red lipstick and clutching her flowers – ‘rosemary, that’s for remembrance’ – Syuzanna’s exceptionally powerful performance was almost unwatchable, in the sense that we, the audience, were observing the character’s mental health crisis being played out before our eyes. Ophelia’s pain at enduring the death of her father and abuse from her former lover led to Syuzanna delivering a highly emotional performance of a person completely broken and whose hopes and dreams had been cruelly smashed to pieces.
George’s performance as Polonius successfully captured the differing public and private image of this career politician; smiling buffoonery giving way to a pathological ruthlessness in his abhorrent treatment of his daughter, Ophelia, a political busy-body who poses as a sincere father, the officious and garrulous essence of this character clearly portrayed by George. Charlie as his son, Laertes, started impish and eager to get away from the stifled Danish court and return to his partying, student existence in France, only for circumstances to occur which lead him towards seeking revenge, albeit in a rash, impetuous and hot-headed manner. Otty and Jemima as Rosencrantz and Guildenstern, former friends now turned spies/agents for Claudius bring some light relief initially to Hamlet, only for suspicion and unease to quickly set in. Otty and Jemima’s comedy double act, complete with synchronised facial glances and physical movements was greatly enjoyed by the audience. Kinvara, Maddie and Jasmine excelled in several supporting roles (Francisco, Reynaldo, Voltemand, Captain, Gentlewoman, Osric, Player Queen) and made valuable contributions as members of the ensemble.
As in all productions of Hamlet, the Gravedigger scene is often a highlight, and this production did not disappoint. Lucy (Gravedigger 1) and Morgann (Gravedigger 2) provided wonderful comic relief in this scene by their philosophical ‘banter’ across Ophelia’s grave. Earlier, Morgann and Lucy had kicked off the production as Barnardo and Marcellus, the watchful guards disturbed by the walking of the Ghost of Hamlet’s father, and Morgann also featured as the Player who is brought to tears by their emotional delivery of the ‘Hecuba’ speech.
As the fencing match between Hamlet and Laertes plays out (choreographed by Noah) the play moves towards its resolution. The final bloodbath occurs only for the scene of devastation to be punctured by the arrival of the invading Norwegian army led by Fortinbras (Rory), another son enacting the revenge of a father brutally killed. Rory’s authoritative delivery of the final words of the play gave reassurance that a restorative kingdom might emerge, now that ‘something rotten in the state of Denmark’ had been expunged and a feeling of closure achieved.
This abridged production of Shakespeare’s play featured high production values and the technical operators Vicki and Basil commendably carried out their duties. Heather contemporary costume design aided communication of character and social status whilst Steve Doidge’s haze-affected lighting aided the pervading feeling of unease which is reflected in the world of Shakespeare’s play. At the curtain call, as the cast and crew received their richly deserved applause, it was clear that this cast of young dramatists had delivered a hugely impressive rendition of one of English literature’s classic works.