November 5, 2017 § Leave a Comment
At the center of the Arabian Shakespeare Festival’s current production of Hamlet are exceptionally insightful and original performances by William J. Brown III as the title character and Nathaniel Andalis as his bête noir and foil, Laertes. Without directly saying so, the production sidelines the more conventional antagonist, Claudius, with all-too-relevant implications.
Hyperion to a Satyr
Of course, no play is thought to be so “universal” as Hamlet, so it is no surprise that any reading seems somehow current. Nonetheless, a focus on Hamlet’s disgust at the weakness of the current leader in comparison to his immediate predecessor, and his incredulity that anyone (let alone everyone) fails to see it, is so pregnant with contemporary implications that the production positively boils with renewed urgency.
John Flanagan plays Claudius as a weak and self-important ruler, so it is instantly believable when the play reveals he sleazed (rather than powered) his way into the job. Hamlet is too well-known for Claudius’ guilt to surprise anyone, but in this case, the production dwells on the patient investigation necessary to bring it into the open. Something IS rotten in Denmark, and everyone knows it, but out of pure self-interest no one will be the first to say so.
O Cursèd Spite!
Brown’s Hamlet is the opposite of the traditional conflicted and dithering naïf. This Hamlet is on the edge of rage from beginning to end. He has to fight for control of his passions, and struggles to apply the rationality he knows the situation demands if he wants justice and not just revenge. Brown is an exceptionally intelligent actor. His delivery of Hamlet’s famous soliloquies is slow and meticulous, but only because his Hamlet is so obviously forcing himself to reason through circumstances where he would rather rampage.
In this production the most powerful counter-force is Laertes who, like Hamlet, is another seeker of revenge for his father’s murder. Interestingly, the actor in this role is Nathaniel Andalis, who spent his summer playing the title role for the San Francisco Shakespeare Festival. Andalis is a charismatic performer with exceptionally deep connections to this play. (His bio says that he hopes to play all the roles in the play eventually, and in this production he is half-way to meeting this goal by notching up his seventeen role in the show.) Laertes exists in the show as a “foil,” a subsidiary character whose situation mirrors that the protagonist so that we might see both comparisons and contrasts. I’ve never seen this function so fully executed as it is in the performance Andalis delivers. I attribute this to the fact that he so deeply understands exactly how the role illuminates that of Hamlet, emotionally and thematically, because he brings such deep perception of the title role from his own experience of playing it. In a way, in this production you get to see two Hamlets – and they are both compelling. Placed in opposition to each other, they are explosive.
The company was rounded out by Rachel Bakker as Gertrude, Norman Gee as Polonius, Emily Keyishian as Ophelia, and Kate Rose Reynolds as Horatio. (All four also played several other parts.)
A Great Reckoning in a Small Room
I am on record as a big fan of this small but interesting company. A couple of years ago they produced an Othello that thoroughly explored the title character as an Arabian Moor that opened completely new aspects of the play for me. Both pre-show publicity and program notes suggest that this Hamlet is also filtered through an Arabian viewpoint – although I do not think this displays overtly or that this information is necessary to appreciating their effort. The play, in fact, seems particularly relevant and compelling for reasons (outlined above) that seem far from the Arabian traditions of political revenge tales that it might be referencing. The obvious political implications as well as the preciseness of the investigation of revengers (in this case doubled because the Laertes is rendered as specifically as the Hamlet) is what makes this production unique.
The production is staged by Kevin Hammond, whose work tends to emphasize striking individual moments that don’t always cohere into a big picture. Some of those moments, however, (especially Hamlet’s encounter with Claudius at prayer) are stunningly effective and thought-provoking. Hammond’s greatest contribution was the dramaturgy of the production: The text was both abridged and intriguingly rearranged (into almost collage fashion).
Malcom Rodgers’ minimalist, mirror-laden set was evocative. Matt Stines’ sound design was subtle but brilliant. Patricia Tyler’s costumes, by contrast, were pedestrian and insistently realistic in a production that was otherwise built on theatrical convention. (The production is performed by seven actors jumping quickly in and out of multiple roles.)
The highlight of the night was the exceptional fencing match-turned-duel at the end of the play, choreographed by Andrew Joseph Perez. The fact that we were right on top of it in the tiny (40 seat) Royce Gallery contributed to the sense of danger, but such immediacy worked in the play’s favor here, and throughout the show.
Hamlet has a limited run, and there are few seats. If you love this play, this is an interpretation you don’t want to miss, with two stellar performances that you shouldn’t miss. See it while you can.
This article has been updated to credit director Kevin Hammond with the dramaturgy, and to include additional photos.
This review is of the Nov. 3 performance.
Hamlet plays through November 19th
(Thursdays- Saturdays at 8pm & Sundays at 2pm)
Royce Gallery (2901 Mariposa St., San Francisco, CA 94110).
Visit www.arabianshakes.org for tickets and more information.