All the ingredients were there: an acclaimed Japanese director, Shakespeare's greatest play and experienced actors. But it was also very bleak with its bare stage, barbed wire, naked light bulbs and not one Jacobean doublet and hose to be seen! Intensity v nuances  | | Michael Maloney was a physically active Hamlet |
Instead, the Danish court opted for red robes, or Samurai chic and modern austerity. A minimalist production we were told, intent on concentrating on the meanings of the famous text. The non-English-speaking Ninagawa opted for weight and intensity, rather than the nuances and richness of the speeches. Some of the humour was jumped over which gave a very static feel to much of the drama, resulting in an uneven play. Indeed, at times the lack of action and the gloomy set had a sleep-inducing quality. An underplayed Claudius v a physically active Hamlet Claudius (Peter Egan) seemed to underplay his character, and appeared unconcerned when his wife Gertrude (Frances Tomelty) drank poison.  | | Frances Tomelty as Gertrude, Laura Rees as Ophelia |
In contrast, Michael Maloney (Hamlet) gave us a physically active portrayal, pursuing the character's mental meltdown with relish and energy. Maloney's performance was highly enjoyable. Highlights also included evocative masked eastern dancers and an Ophelia (Laura Rees) who descended from Cinderella-like prettiness to nervous break down with skill. Robert Demeger (Polonius) was quirky, if a bit creepy at times. Such was the public's knowledge of the famous story, he was in danger of having his famous lines echoed around the theatre by the audience before he could utter them. Bob Barrett (Horatio) played a strong central role as Hamlet's friend, while Mido Hamada (Fortinbras) was good value as the rival king. The play runs until Saturday 11 December, 2004 Got a review in you? We're always looking for people in the county who would like to review plays, dance shows and comedy gigs. Follow the link at the top of the page to find out how to contribute to this website.
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