Hamlet, The New Theatre

The changes gives a tighter focus on Hamlet himself. Instead of battlement beginnings we have a melancholic, angry Hamlet, and the voice of the dead, murdered father could be an apparition or simply in his head. Revenge is set in motion, although Hamlet wants to be sure his Uncle did do it, not trusting totally the voice of his father (when it occurs later it is like a more sinister Obi Wan) or himself. There is also the fact that his mother, Gertrude (a very controlled and confident Kathleen Warner Yeates) remarried his Uncle a month after the funeral. The visual dishevelment of Hamlet comes through the costumes from Alex Cusack, as he starts off in a well dressed, long coat, shirt and jeans, and by degrees the layers are peeled back, until, at one point, he looks like a cross between Steven Tyler and Prince. 

Hamlet's behaviour flips from genial and humorous to abusive and unpredictable, but is it his nature or simply an act? Rex Ryan brings that duality to Hamlet, at times there is a youthful innocence, more carefree even, until the weight on his shoulders is once more revealed and suspicions arises in him, all of this countered by more lucid, calculated moments. There is also the choice of presenting 'To be or not to be' out on its own, almost like a solo in a musical, is both jarring to begin with, and yet allows us to hear the now famous words in a different light, speaking of which, the lighting design at that point is fixed only on Hamlet, broadening out as the thoughts emerge, and a feature with Ryan's delivery on most text of length, is to start thoughtfully, slow at first, and then get quicker, more rapid, as if the thoughts start coming from all angles, unstoppable.

The first act moves at a good pace: as soon as we see the 'tenders' Hamlet has for Ophelia (Grace Fitzgerald), something they are hiding from her father, Polonius (Daniel Costello), and her brother, Laertes (Shane O'Regan), we immediately see Hamlet's reaction to her when being watched, something that takes more time in the original text. When Ophelia does descend into her own trauma, the face mask worn is more of a distraction than anything else, and doesn't add too much to the moment, for me anyway, other than a curiosity.

A wonderful performance comes from Daniel Costello as Polonius, bringing the comedy and the conniving to the part in equal, delightful measure, a highlight of the night, lighting up any scene he enters. While a comedy double act may have been found in the casting of Rosencrantz (Ethan Dillon) and Guildenstern (Finbarr Doyle) - Tom Stoppard revival soon, maybe? - although like the undercurrent of rot, poison and death that becomes more evident as the story unfolds, they show a darker side as well. This duo of actors play the bawdy gravediggers and players as well, and it is a feature of this production that humour is given the room to breath, balancing the deeper, darker aspects, and coming together well during both scenes at the grave and the play within a play. 

The second act beginning feels more traditional, until the energy and dynamic of the first returns in the graveyard scene, culminating in a well choreographed fight, and classic picture for the final tableau, with a circular feel as the lighting dimming at the end is similar to the slats of light presented at the outset on a simple set, that cleverly leaves an open playing space, more reminiscent of the type that would have been used at the time, with purple drapes at the back, echoed later in Hamlet's purple waist coat. The idea of leaving books and swords and masks on view is an interesting one, and a glance at the sword that can be picked up at a moments notice, reminds us of the revenge aspect of Hamlet, that also consumes Laertes. 

It is blessed with a strong cast, a number of whom are able to bring sense and newness to the words, rather than simply reciting back what is memorised. The fact it is a small stage is soon forgotten thanks to a thoughtful, and barring a few choices, well executed, fresh and rapid adaptation of the well known play. It may feel rushed, and the scenes and dialogue moved around may seem odd to those aware of the text, but the story remains intact, with humour a large part of it, something we can forget when thinking about Shakespeare. It is a different take on it, but, it is enjoyable, and when it works, it is electric.