Written by: Natasha O'Neill (@natashaoh)
The
Rose Theatre (Bankside), London
****
For the first time in 419 years, Hamlet returns to The Rose, Bankside. It
makes its come back in the form of a nerve-jangling kitchen sink drama which
focuses upon the relationships between characters and the harrowing effects
humans have upon one another. We enter the cold, dimly lit performance space to
the jarring sounds of a radio tuning itself and of intermittent white noise,
which immediately sets one's teeth on edge as it sets the premise of the play.
We, as an audience, are excruciatingly close to the action and occasionally play
the roles of Hamlet's confidants; employing direct address and minor audience
interaction, director Martin Parr involves us in the narrative as much as the
actors themselves.
The indoor archaeological site of the Rose,
and its watery pool alongside the stage in particular, is an excellent backdrop
for Hamlet. It creates an incredibly
dramatic and disconcerting atmosphere. The clever use of light contributes to
this ambiance, a lot of the action being illuminated by dim swinging lamps,
torches or the red rope lighting indicating the original Rose stage. The space,
despite its obvious limitations at times, lends itself very well to Parr's
rendition of this iconic play.
The first twenty minutes feel like an
adjustment period, with audience and cast alike adjusting to the language, the
presence of one another, and their surroundings. However, once they pick up the
pace, and the actors find their footing, the performance becomes immensely
engrossing, encouraging me to lean forward in my seat.
With a cast of only four, we witness a switching
of roles that, for the most part, works incredibly well. Whilst Suzanne Marie's
Gertrude was effortlessly played, her first appearance as Ophelia bordered upon
caricature; however, as the play continued, Ophelia's descent into
grief-fuelled madness was beautiful and chilling to behold. Watching her teeter
over the edge of the pool had me wringing my hands and holding my breath.
Jonathan Broadbent plays an intelligent, and at times almost petulant, young,
geeky Hamlet. As the events of the play unfurl, we watch him age and mature,
his performance becoming deeper and more resonant as we reach the end. On the
other hand, his insanity appears too abruptly, and the shift in character is too
clunky for the performance to be entirely seamless. Liam McKenna commands
attention as both domineering Claudius and bumbling Polonius, as does Jamie
Sheasby, who, with a chameleon-like ability, shifts from Laertes, Rosencrantz
and the Gravedigger in a skilled performance. Whilst the cast are able to hold
the stage individually, the atmosphere between all four crackles with chemistry
and charisma; together they create a formidable quartet.
The voice of Hamlet’s dead father
emitting from a portable radio placed upon the stage, most of the famous lines
and iconic imagery are scattered about openly and almost satirically.
Nevertheless, it still seems odd to have Hamlet's father's monologue staged in
an almost complete blackout. All of Hamlet's reactions to hearing his father's
voice are lost, and the scene disconnected me momentarily from the action. I regret
this artistic choice, as this moment is decisive for Hamlet, the turning point from
which his character and motives shift. It would have been beautiful to be able to
witness this momentous event in Broadbent's Hamlet.
Many may think of Hamlet, or Shakespeare in general, as a heavy undertaking for a
Friday evening, but Parr's production is a raw, intimate and stripped-bare
magnifying glass for us to observe humanity and family. It's a wonderfully
funny, heartbreaking and accessible performance that I urge you to see.
This
production runs until 3rd March 2013.
For more information: http://www.rosetheatre.org.uk/events/hamlet-by-william-shakespeare/
@RoseTheatreSE1
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