By Erika Stauffer
Performing in Salt Lake City, The Off Broadway Theatre presents Hamleton: To Be Or Not To Be, a hilarious retelling of William Shakespeare’s Hamlet set to the music of Lin-Manuel Miranda’s Hamilton. The music, dancing, and acting are all superb, not to mention the writing and choreography. With references to Scooby-Doo, LDS culture, themselves, and more, the production brings added layers of humor to this interactive retelling of the tragedy of Hamlet.
Eric Jensen plays a stellar Shakespeare and Guildenstern. As Shakespeare, he masters the comedic pause, allowing the moment to stretch itself beautifully. He brings a hint of pride and self-awareness that befits the role perfectly, and then he drops it when he returns as Guildenstern: a bouncy little goof who sets himself up to rhyme and then epically fails. The building and popped energy E. Jensen gives Guildenstern brings outstanding humor to every one of his scenes.
From his bold introduction, to his comic entrances, to his angsty raps, Austinn Jensen’s Hamlet is versatile, bringing life to the production from beginning to end. I loved watching the millennial attitude and energy he brings to the role. His rap of the entire “To be or not to be” speech is quite impressive.
DRU as Claudius is a joy to behold. Though the antagonist, his expressions are so big and innocent that it’s like watching a hyperactive child. I had to keep glancing away from ensemble numbers just to watch him interact with Gertrude, pouting or clapping or claiming innocence. This production is not afraid to include the weighty content in Shakespeare’s Hamlet, but they successfully lighten the mood by portraying it in a self-aware, comedic way (without disrespecting the subject matter). DRU perfectly embodies his portion of that effect.
Angie Tabares as Ophelia is alive, flirty, and fun, together with her handmaids Anne Hancock and Angelica Hope Hartman (Peggy and Eliza respectively, characters lifted from the plot of Hamilton). Her anxiety over the prospect of dumping Hamlet is astoundingly sincere. In the second act, Tabares acts out a beautifully insane Ophelia. Her constant, massive joy throughout this whole scene is noteworthy, both in the mere fact she maintains it, and in how it simultaneously portrays and lightens her insanity. At this point, Hancock and Hartman shine: their concern for Ophelia as well as their in-fighting about how to help her is genuine.. Each actress steps into her own individual role in the group.
Matthew Davids creates a versatile Laertes. A friend to Hamlet in the beginning, Davids then portrays his character’s joy, startled distance, rage, and hurt as Ophelia’s story develops. With each turn, Davids’ attitude is clear and genuine, drawing the audience into his character’s emotions underneath the humor. He mourns, hurts, rages, and pledges himself to Claudius’ schemes all at once, while fitting inside the tone of the overall musical number/scene.
Brent Sloan’s King Hamlet is a perfect melding of spooky and goofy. He nobly glides onto stage, staring out over the audience with a gaunt frown, then dances around to a perky “Die, die-die-die die!” in “Get Him Back” and reprise. (Extra kudos to his makeup artist for that pale, lined face and the black lines around his lips, accentuating every way his mouth turned.) One side of the character does not diminish the other, as Sloan remains Hamlet’s foreboding superior even through his purposely over-played jokes.
Playing the most grounded of Shakespeare’s original characters, Jennica Henderson brings real strength to her role as Gertrude, standing by her new husband and watching out for her son with genuine concern. My favorite moment in the production was watching her spit in Polonius’ face, “Why do you assume you’re the smartest in the room?” in “Scheming Nonstop.” Especially noteworthy is her musical prowess when she takes center stage to sing “Drown,” lamenting and describing Ophelia’s death.
Ed Gilmore as Polonius is a straightforward counselor to Gertrude. He shines the best in “Scheming Nonstop.” After taking Gertrude’s affront calmly, Gilmore answers her with a sad resignation to perfectly support his character’s perspective. I also enjoyed the way he repeatedly rolled backwards onto the stage after his character’s demise; the motion was fluid and dramatic, perfect for the comic effect.
Alex Johnson as Rosencrantz provides the practical part of his companionship role with Guildenstern, pressing Hamlet for answers. As the fake king in the mousetrap play, he beautifully overacts a nap and a dramatic death. Adam Oviedo and Sebastian Smith make a very entertaining Guard 1 and Guard 3. Also serving in other roles, they play very well off each other and are beautifully self-aware. These characters are almost pure humor, and my favorite moment between them comes when they first see King Hamlet and one jumps into the other’s arms. Edlena Mitchel, as Gravedigger 1 and a narrator, brings a tone of sass to each role; her narration is clear and confident, and she joins well with the ensemble when the full cast provides backup dancing.
Those who work behind the scenes make this show a masterpiece. Playwright/Director/Lyricist Eric Jensen incorporates the original Shakespearean text into the interludes and Hamilton music, truly nodding to the highlights of Shakespeare’s work even as he pokes fun at it and the characters. The set design (Clint Lehmberg) is neat and perfectly attuned to each scene, from utilizing the closed, black curtains to the interior of Elsinore castle. The music, microphones, and lighting (Rob Reins) are perfectly balanced to support the action on-stage, and each rapped word is clear. The costumes (Janice Jensen and Jennifer Jackson) are simple Shakespearean, appropriate to each character, while adding to the humor of their extra-Shakespearean jokes; I especially enjoyed Sloan’s perky dance in ghoulish armor. The choreography is amazing throughout (Chance Le Prey, Austinn Jensen, Eric R. Jensen) as the actors quickly fill and empty the stage
While the very youngest of viewers may not be the best audience members (there is mild language and adult jokes as serious as mock passionate kissing), I would certainly say The Off Broadway Theatre is the place “to be” for genius mashups, incredible music and choreography, and a night full of laughs. Don’t miss Hamleton: To Be Or Not To Be!
The Off Broadway Theatre presents Hamleton: To Be Or Not To Be by Eric R. Jensen.
272 South Main Street, Salt Lake City, UT 84101
Mon, Fri, and Sat, August 2 – September 7, 2019 7:30 PM
Tickets: Children (2-12) $10; Students (13+), Seniors (65+), Military $12; Adults $16
Contact: (801) 355-4628
www.theOBT.org
The Off Broadway Theatre Facebook Page
Hamleton: To Be Or Not To Be Facebook Event
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