By Keolanani Kinghorn
Hamlet is, arguably, Shakespeare’s most popular and dynamic play, and for good reason: it packs a punch, but it is not the easiest to pull off, and certainly not on stage. Parker Theatre in Salt Lake, Utah has accomplished what I consider to be an almost impossible task; it has produced a stage adaptation of Shakespeare’s Hamlet that is compelling and that stands up to the best that Utah theatre has to offer in creativity and talent. Indeed, it’s a production that could rival the Utah Shakespeare Festival in quality. Director Brinton M. Wilkins embraces the humanity of Hamlet’s character, played by Spencer Hohl, by opening the play with scenes that show a happier time before the downfall of Denmark. We glimpse the bond between Hamlet, Ophelia (Lauren Pope), and Laertes (Charlie Flint), and we even witness Hamlet give Ophelia a letter that tells her he loves her and intends to marry her. For a moment, we witness their joy before it is washed away by the death of Hamlet’s father and by Hamlet’s mother’s hasty marriage. The juxtaposition between the happiness of the young and careless lovers and Gertrude’s (Natalie Killpack-Daniel) obligation to marry again or pass the throne to her grieving son is sharp and poignant. Later on, when Ophelia kisses Hamlet (another artistic choice that departs from the text) before he tells her to “get thee to a nunnery” (Act 3, Scene 1), we don’t think Hamlet is cruel; instead, we understand how torn he is and how much he loves her.
The pacing and flow of this show are flawless; it honestly feels like a movie, moving smoothly from scene to scene. The actors and actresses walked, ran, and did impressive sword fight choreography without missing a beat. My favorite fight is between Hamlet, Rosencrantz (Josh Egbert), and Guildenstern (Isabella Giordano), who do a three-way sword fight on stairs and across other props. This production also makes strong choices in both wardrobes (costume design by Paige Burton) and characterization to make each character stand out. For Rosencrantz and Guildenstern, it’s their adorable teasing as they enter and exit the stage—someone always tripping the other. And anytime Hamlet and Polonius (Brinton Wilkins, also the director) are on stage together, Hamlet exaggerates his “madness” and Polonius awkwardly dodges the situation.
Hohl’s Hamlet has the comedic wit and timing of the best actors I have seen but also convinced me of Hamlet’s madness later on in the play, and that is the mark of a gifted actor. I particularly enjoyed his “To be or not to be” soliloquy (Act 3, Scene 1), which Wilkins set at the grave of Hamlet’s Father—a unique and intriguing choice. Hohl holds a dagger to his throat for nearly the entire speech, creating a tense final scene for the first half of the play. Another compelling scene is when Hamlet has his chance to kill Claudius (Ben Henderson). As a Catholic, Claudius kneels in a confessional, and Hamlet stands on the other side and slides his sword through one of the small openings but pauses when he realizes that if he kills Claudius at this moment, Claudius might not be sent to hell.
Pope is a strong actress who perfectly portrays both the strength and innocence of Ophelia’s character. Surprisingly it’s not Ophelia’s mad scene (Act 4, Scene 5) that drew me—I felt that scene did not go far enough to convince me of Ophelia’s madness. Instead, it was Pope’s reaction to news of the death of her father, Polonius. Pope broke my heart with her tears and her declaration, “who did this!” I would venture to say she effectively touched many hearts in the audience, judging by the amount of sniffling I heard around me. Another unique choice by Wilkins was how to portray Ophelia’s drowning. I was delighted to see something new in this production. In the scene, a blue screen filled with projections of moving water divides the audience and the stage. Pope appears on stage, suspended in the air by unseen chords. Her limp form drifts across the stage while the sounds of water echo in the background. It is so eerie and effective, thanks to the brilliant set and lighting design by James Parker. This theater space is something special. I was so impressed by the acoustics, which operates without mics, and the top-notch lighting and staging.
A scene I always watch closely as a Hamlet scholar is the scene between Hamlet and Gertrude, which hints at an Oedipal complex (Act 3, Scene 4). In this production, Hamlet kisses Gertrude’s hand and poses suggestively at the door upon entering, but it does not go further than that. This story is one of William Shakespeare’s tragedies, and there are many deaths both depicted onstage and alluded to. The material is best suited for a mature audience, but the high production value guarantees that audience members will enjoy the show! Overall, I was very impressed and pleased with the performance by the entire cast and crew at Parker Theatre. Well done! Go see it while you can!
Parker Theatre Presents Hamlet, by William Shakespeare.
Remaining shows: September 3, 9, 10, 2022
Tickets: $20–22, free parking
3605 South State Street South Salt Lake, UT 84115
801-532-6000
boxoffice@parkertheatre.org
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