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What struck me most about this production of Hamlet was the idea that the company was a band of traveling players. Introducing themselves as such gave an interesting perspective on the piece: those involved were invested in telling a story, and thus were able to distance themselves a bit from the heaviness of the text. (Many reviewers have discussed and analyzed the choice of making this Hamlet more youthful and happier, unlike his previous brooding counterparts.) I found that the relative lightness of Hamlet’s demeanor extended to the rest of the production. From the humor of his first meeting with Rosencrantz and Guildenstern, to the most entertaining version of “The Mousetrap” play-within-a-play I’ve seen, the gap between player and character allowed more freedom for the actors to play with their classic roles.
 

I was also extremely taken with certain images from the production, especially Ophelia’s funeral. During the proceedings, Ophelia (played by the lovely and talented Carlyss Peer) stood above the royal family and sang herself to rest. As the grave was broken down at the end of the scene, Ophelia entered last and carried the pillow representing her body offstage, in essence carrying herself. In that moment, Ophelia was finally free of the damage of the structure of her life. As I’ve studied the text, I’ve learned that Ophelia can be viewed as a victim of royal duty. Hamlet was not free to love her because his emotional obligation lay with the crown. His obligations were to his position, not to his own heart. Ophelia would always just be a piece of the political puzzle, never a person of her own worth. In her death, Ophelia found freedom from pain, madness, and loneliness. By carrying herself, her soul grew strong.
 

I suppose what threw me a bit about the production was how small and self-contained it felt. The set itself was very small, which reminded me of figures in a jewelry box or a dollhouse. I understand that this production is usually performed outside, so the self-contained nature would make sense. However, it seemed like the set didn’t utilize the whole space inside the theater, making the stage seem a bit empty.
 

Overall, I think what drew me to this particular production of Hamlet was the emphasis on a separation from the norm. Audiences are so used to Hamlet’s brooding and the wait for the famous soliloquies, that the real traditional look and feel of the production is lost. Back when the play was originally written, players were traveling the countryside. Fewer actors played multiple roles. Costumes and sets were simpler. The emphasis was on the story. I really enjoyed the journey back into the more traditional presentation of the play. I think what frustrated me most was how seriously other productions have taken themselves. Here, the focus was the story itself, not on building allegory. I think this brought a level of (could I say?) joy in playmaking that this text really needs. I think the collaboration of player and character creates a fusion of seriousness and joy that helps bring a very real, human quality to dense, classical characters.

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​Hamlet ran from October 9-21st, 2012 in the Paramount Main Stage.