Hamlet

Bell Shakespeare always endeavours to bring us something we have not thought of before – an “angle”, if you will, or an exploration of the text which turns a light bulb on in our head. Fortunately we are all blessed with the vision of Damien Ryan, the director who gave us a “certain-to-become-a-modern-classic” Henry V. His Hamlet doesn’t quite climb to that high pinnacle, but his ability to take the separate story strands and meld them into a seamless linear narrative cannot be over-estimated. No more does the action stop for comic relief, but rather comedy is the weft thread woven with the warp of dysfunction and obsession, a tapestry heavily embroidered with political intrigue and spies. Ryan adds a layer of John Le Carre, with bugging devices, passwords, cryptography and paranoid distrust. It’s a vision which is visually stunning, thanks to the superb set by Alicia Clements; Matt Cox’s wonderful lighting and Steve Francis’ music and soundscape.

They’re all aided by Nigel Poulton’s movement and fight direction, but it’s Ryan’s moments of magic – like the “switch” in the bed (no I won’t explain…you must see it). The play performed in Italian, Fortinbras’ televised Hitler-like call to arms in Norwegian and Ophelia’s burial – which make you catch your breath.

Josh McConville is no “ordinary” Hamlet (if there could even be such a thing). While the central question for High School students is usually “Is Hamlet really crazy – or merely pretending to be crazy to maintain his sanity during grief?” Ryan and McConville toss this notion from the cliffs of Elsinore and opt for something far more contemporary. This Hamlet is a clear candidate for Beyond Blue – clearly depressive, more likely Bi-Polar, with Obsession, Paranoia, Personality Disorder and possibly Aspergers thrown in for good measure. And though there are times when you want to say, “Take your meds and get on with it”, there is no denying how deeply the actor and the director have mined the well of emotions. The mood swings are extreme, and include Hamlet mooning his “mates” Rosencranz and Guildernstern in almost manic “blokey” fashion, and yet showing the worst kind of misogynistic black cruelty to a woman who loves him. He seems incapable of true feeling unless it’s self-centred; and he is disconnected from normal response. The Yorick scene for example is not played with poignancy or regret, or even introspection for a childhood lost, but more like someone remembering cartoons that amused him in childhood. Still, there’s much to be praised – particularly when Hamlet is RE-active and part of the ensemble scenes. In the soliloquoys, McConville is less convincing. His introspection there seems uncomfortable for him, especially when he breaks the fourth wall and includes the audience. He never raises his head nor looks beyond the third row. It’s difficult to ascertain if this is part of a bi-polar shift or a mere performance glitch while the show is still running in.

Philip Dodd is a marvellous Polonius, giving full three-dimensional weight to a character that is too often a buffoon or a villain. This Polonius is a man whom we have either met –or been, not merely an archetype. Dodd is always impressive and his cameo as the Gravedigger is sheer delight.

Sean O’Shea is masterfully Machiavellian as Claudius and moving as the ghost; Doris Younane is an impressive Gertrude, sexual and with the ability to slip into heels and put up her hair while greeting visitors in a dressing gown. Matilda Ridgway battles with the wishy-washiness of a dependent Ophelia in Act One….but truly owns the stage in Act Two…no doubt whatsoever about her “why am I unlovable?” craziness. Michael Wahr (Laertes/ Guildenstern) is a young actor to watch and Robin Goldsworthy is so good at delineating his 4 roles (including Rosencrantz) that I forgot it was the same actor. Ivan Donato is solid, though not inspired, as Horatio and Julia Ohannesian and Catherine Terracini are interesting choices in what are traditionally male roles (a twist on Shakespeare’s times, when the female roles were played by men). Two points though about the Players. Hamlet’s script that allegorises the betrayal and murder of his father does not work as well with a woman (albeit a good actor) playing the King; and if the two players are Yorrick’s daughters as we are told, then they have been childhood friends of Hamlet’s and known each other all their lives. There should surely be an intimacy which isn’t acknowledged in interaction.

Act One is an absolute triumph in excellence and entertainment; and, if Act Two fails to quite measure up, it’s partly due to text and the unwieldy nature of what was Act 4. With bodies strewn all over the stage, it’s hard to maintain intensity without slipping into melodrama, and so Ryan has opted to pull back on the histrionics, and Hamlet seems almost disinterested in his own death.

This is not a production you will talk about forever, but it is nonetheless terrific entertainment for Bard aficionados and novices alike, and the fact that it will tour extensively means more unlikely neophytes will become bard Groupies. Amen to that.

Coral Drouyn

David Spicer adds his thoughts on the Sydney Opening.

Sydney Opera House until December 6.

Whatever teething problems were noticeable in Melbourne were well and truly ironed out by the Sydney opening of Hamlet. Josh McConville's performance as Hamlet is  extraordinary. He turned on the tears, the angst, the madness and the spittle to boot with a swashbuckling display of fencing that would make Errol Flynn proud.

There was just the right balance of giving it a fresh look without tampering with the beauty of the language.

The setting for this production was during the Cold War. The Danish Palace design by Alicia Clements dripped with gilded doors and frames. Other nice touches included dollops of Danish (as far as we could tell), a 1970's airport flight board, and spooks eavesdropping on what was happening in different nooks and crannies.

I had a 17 year old High School student with me and he found the production crystal clear to follow and thoroughly engaging.

Photographer: Daniel Boud