‘Hamlet’ doth protest too much

Friday, February 11, 2011

In a recent lecture, professor Harold Bloom lamented the waning influence of Shakespeare, particularly the growing inability of thespians today to successfully bring the Bard’s plays to life on the stage. And with director Gabriel Bloomfield’s ’11 adaptation of “Hamlet” — opening this week in the Calhoun Cabaret — Professor Bloom is surely crying himself to sleep.

On the surface, Bloomfield’s “Hamlet” is a straightforward telling of the play: Keeping with traditional productions, the titular character seeks to exact revenge on his uncle Claudius for murdering the former king of Denmark (Hamlet’s father) and then taking the throne and marrying his brother’s wife Gertrude. Themes of treachery and moral corruption come to a head as Hamlet questions both his existence and his own resolve before avenging his father in the play’s final, tragic scene.

That said, the play’s opening makes very clear it is an adaptation: Before any actor utters one of Shakespeare’s original lines, Taylor Vaughn-Lasley ’12, accompanied by accordion and violin, performs a musical number that sets the mood for the rest of the play. But Lasley’s voice is barely audible over the melody — the only line that comes through is “pool of blood,” which is repeated several times. Therein lies the fundamental problem that this production of “Hamlet” is unable to overcome: This play, though extremely promising and based on rich material, never quite finds its voice.

Cooper Lewis ’11, in the title role, approaches the scatterbrained and uncertain prince of Denmark in a one-dimensional yet effective way. Whether intentionally or not, his performance closely mirrors the prototypical rebellious teenager⎯— complete with chain necklace and an eyebrow piercing.

His sarcastic and often frenetic interactions, notably with his mother Gertrude (Kate Berman ’11) and the stunning Ophelia (Julie Shain ’13), complete this stung and rather immature image. Indeed, the play entirely hinges upon Lewis, who admirably seems at ease bearing the weight of Shakespeare on his misunderstood shoulders.

The play is obsessed with its rebellious, if not misguided, revision of the timeless classic. Anachronisms abound, from digital stand-ins for the ghost of Hamlet’s father and a clip of duck-walking soldiers set on a visual loop, to gaudy fur coats that would make even Nicki Minaj proud.

Even the other performances aim to defy convention.

Who could imagine Polonius (Hunter Wolk ’12) played so apathetically? And in an interesting departure from the Shakespearean tradition of all-male casting, women even play the parts of Claudius (Peregrine Heard ’12), Horatio (Charlotte McCurdy ’13), Rosencrantz (Calista Small ’14), Guildenstern (Antonia Czinger ’13) and Fortinbras (Lasley).

But for all its glamour and attempts at innovation, “Hamlet” never quite measures up to its potential. Like the starkly individualistic and at times head-scratching performances, the play runs together quite loosely, and the changes, rather than adding to the narrative, tend to distract. Bloomfield seems caught up in presenting his personal take on the tragedy, but ultimately, his adaptations add little to Shakespeare’s masterwork.

Yet there exists a certain glory in trying to make something new out of a play so thoroughly grounded in history. Bloomfield takes an ambitious and commendable leap, even if it does not entirely pay off. As this version of “Hamlet” makes very clear, convention warrants a reworking.

jlomax55 1 year, 3 months ago

Well said !

Andreology 1 year, 3 months ago

Yale needs more home-schooled students. Most of the students of America's public and private schools are trapped in the present.

FailBoat 1 year, 3 months ago

All that I learned from Mr. Lomax's piece is that the actress who plays Ophelia is hot.

LogicalComments 1 year, 3 months ago

When YDN theater reviews are critical instead of just the regular applause applause...

liestene 1 year, 3 months ago

This is for you, Michael:

I understand that you needed to establish some kind of credibility but opening your paragraph by revealing you're in Harold Bloom's class doesn't make you cool. The only thing in this review that would make Bloom cry is your writing.

Sincerely, CK

PS: I would go to a few more Shakespeare lectures before attempting another review, yeah?

jlomax55 1 year, 3 months ago

Oh my, some of you YDN reader commenter just missed the boat completely. I guess the high class writing is too much for some to understand and digest, even I had to read three times before I completely understood what was accomplished here in this review. Once again, Well Done! Mr. Lomax, Hope you write more often, hope the players of the play may get some good pointers out of this review.

jlomax55 1 year, 3 months ago

Professor Bloom may be sad to see the waning influence of Shakespeare. Yet director Bloomfield brilliantly brings the twist to the play by incorporating the world today-new teenage image, female actors, gaudy fur coats and digital stand-ins, Lasley’s musical number etc… Mr. Lomax is also pointing out what were some of the problems that can be easily fixed; Lewis is a brilliant actor who is carrying this play on his shoulders. “Yet there exists a certain glory in trying to make something new out of a play so thoroughly grounded in history.”

Well said!! Thank you Mr. Lomax

Jaymin Patel 1 year, 3 months ago

@jlomax55 In all honesty, the fact that it took someone of your linguistic brilliance three times to understand the point of this review suggests, if anything, a failure of communication. It don't know when it entered the mind of literary society that flowery cryptic and ambiguous language was commensurate with brilliance, but if one has something to say, it should be said directly and clearly.

Excuse me for being anti-high class, but it seems the point Mr. Lomax was making is that the various alterations the director made were interesting, but didn't flow well together, creating a disjointed play (I didn't see the play so I can't attest to the validity of that statement). If that was indeed the point, it should have been made without the paragraphs of vague nonstatements like "never quite finds its voice", and "carrying this play on his shoulders".

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‘Hamlet’ doth protest too much