Review on “Hamlet” at Southwark Playhouse
The latest rendition of Shakespeare’s “Hamlet” by the Lazarus Theatre Company, presented at the Southwark Playhouse, is an experimental deviation from the classic, aiming to present the story from the young characters’ viewpoint. However, the production leaves much to be desired, with questionable directorial decisions and a lack of coherence in its narrative.
Retelling Hamlet: Fresh Faces, Forgotten Foundations
| Production | Hamlet by William Shakespeare |
|---|---|
| Location | Southwark Playhouse, the Large, 77 Newington Causeway, London |
| Date | 1st to 4th February 2023 |
The typically commendable Lazarus Theatre Company has surprisingly missed the mark with their recent production. Under the ambitious vision of Artistic Director Ricky Dukes, this piece was crafted as a contribution to Southwark Playhouse’s Shakespeare for Schools initiative. Dukes boldly opted to collaborate primarily with young actors in their early twenties, sidelining mature roles like Polonius. This experimental approach sought to retell the classic from the younger characters’ viewpoint.
Upon entering, the audience is greeted by the sight of the cast, uniformly garbed in tracksuits, seated in a circle. A central microphone serves as the medium through which they introduce themselves and recite select lines. Michael Hawkey, embodying Hamlet, notably introduces himself last, adding to the ambiance reminiscent of group therapy sessions. The narrative is intermittently guided by an ethereal female voice, attributed to Micha Colombo.
However, the execution falls short of expectation. The character development is muddled, leaving the actors with limited material to genuinely shine. Significant scenes, like Ophelia’s (played by Lexine Lee) iconic rosemary and rue moment, are regrettably diluted, manifesting merely as sprigs in jam jars. The portrayal of Hamlet is especially disheartening; the revered prince is represented akin to an unlikeable high school athlete, leaving Hawkey with a Sisyphean task of salvaging the character. Eccentric choices, like Yorick’s cameo from an appliance resembling a refrigerator and Hamlet’s father donned in attire reminiscent of Darth Vader, further blur the production’s intent. Additionally, elements like the fleeting introduction of Rosencrantz and Gildenstern, combined with ambiguous television monitor displays, add layers of confusion.
On a brighter note, the rendition of the Mousetrap scene, inspired by commedia del arte, offers a refreshing take, and the concluding slow-motion duel showcases some artistic finesse. Yet, these isolated moments cannot overshadow the production’s overwhelming shortcomings. While it teeters on the brink of being a “so bad it’s good” spectacle, it fails to deliver even as a guilty pleasure. Such a disjointed portrayal could inadvertently deter students from exploring Shakespeare further. In fairness, the cast’s efforts are commendable, given the challenges they faced, but the overall experience remains lackluster.
Cast & Crew
- Micha Colombo: The Voice;
- Michael Hawkey: Hamlet;
- Juan Hernandez: Marcellus, Player King, Priest;
- Lexine Lee: Ophelia;
- Amber Masters: Rosencrantz;
- Sam Morrris: Laertes, Lucianus;
- Kiera Murray: Barnarda, Player Queen;
- Raj Swami: Gildenstern;
- Kalifa Taylor: First Player, Emilia;
- Alex Zur: Horatio;
- Director: Ricky Dukes;
- Designer: Sorcha Corcoran;
- Lighting Designer: Stuart Glover;
- Composer, Sound Designer: Jovana Backovic;
- Video Designer: Charles Flint;
- Fight Director: Alice Emery;
- Production Photograph: Charles Flint.
Conclusion
This rendition of “Hamlet” is far from the expected standards of the Lazarus Theatre Company. While the cast’s efforts are noteworthy, the overarching directorial decisions overshadow their performances. The production struggles to strike a balance between innovation and coherence, making it challenging for viewers to appreciate. It might not be the best introduction for newcomers to Shakespeare’s work. The cast, however, should not bear the brunt of this poorly executed endeavor. You might be interested in a review on ‘Strictly Ballroom’ at Birmingham Hippodrome.