Hamlet at The Classics Theatre Project
“Hamlet,” written by William Shakespeare (circa 1600), tells the story of a man haunted by his late father, who seeks revenge against his uncle for marrying his mother. The Classics Theatre Project’s adaptation brings a modern twist by blending current actions with classic dialogue.
Although this production still has room for polishing, I admire how it stands out from other plays by taking risks and experimenting with theatrical codes. Some actions might seem lacking in beginning, development, or resolution, yet there’s a “story behind the story”—a rarity these days. We’re so accustomed to watching plays that only focus on entertainment, lights, music, and costumes, only to leave the theater with an empty feeling. However, TCTP’s Hamlet leaves you either discussing its subtle details or questioning their significance. Joe Folsom’s direction allowed me to move beyond the story and focus on my favorite part of theatre: the codes.
Looking at Prince Hamlet (Noah Riddle), I didn’t just see a character I’d want to avoid; I saw someone I’d dread being seen as an enemy by. The energy Riddle infused into Hamlet evoked memories of today’s real-life villains. His references are clear—this is not just someone driven mad by his father appearing in dreams, but someone shaped by the content he consumes. Reciting “To be, or not to be” with Robert Cialdini’s book “Influence: The Psychology of Persuasion” in hand not only reflects Hamlet’s new contemplation about his life’s purpose but also hints at the path he’s inclined to follow to fulfill it.
Another standout performance is given by John Daniel Pszyk, who makes Polonius’s dialogue feel so natural that you almost forget it’s in antiquated language. Pszyk clearly enjoys embodying this character, skillfully playing with highs and lows in both his tone and his physicality. His strong spatial awareness and dynamic interactions with others on stage highlight his experience, creating a layered portrayal. Through Pszyk, we recognize another interpretative device: while Hamlet’s inner monologues are marked by shifts in lighting, Polonius’s occur through a change in interaction, with the audience becoming his inner monologue. Even as we anticipated his death, we almost wished his ghost could linger, allowing us more time to enjoy Pszyk’s creative choices.
Michael Miller’s performance exudes a sense of enjoyment, particularly in his transformation into one of ‘the actors,’ the Player King. He sheds a metaphorical heavy cloak, bringing fluidity and exaggeration to the role that revitalizes both his presence and the audience's energy. Stephen Miller also stands out, showcasing an experienced spatial awareness that highlights his understanding of theatre as a team effort. His ability to handle unexpected moments seamlessly keeps the play running smoothly, allowing him to embody Claudius with natural confidence and poise, maintaining the illusion for the audience without missing a beat.
The romantic dynamics in this play are conveyed with remarkable clarity. Even without hearing the dialogue, one can easily discern who loves whom, where interactions are driven by lust, and where jealousy surfaces. Through action alone, it’s evident that although Claudius and Gertrude (Cheryl Lowber) are newly married, a third presence complicates their relationship. Hamlet’s connection with Ophelia (Jordyn Pierson) appears distinctly manipulative, while Guildenstern (Kathryn Forbes) seems to be more than just a friend to Hamlet. These examples highlight how consistency in physical storytelling allows the audience to follow the narrative, even if the language feels dense. This approach ensures that the essence of the story is always accessible, regardless of the complexity of the text.
Personally, I would have loved to see equal clarity in the references across all actors. Unfortunately, some characters appeared well-structured, thoroughly studied, and with actors exploring something new. Others seemed to stay in a safer space and hastily constructed, creating an imbalance on stage that can disconnect the audience. This sense of disconnection is heightened when outdoor light spills onto the stage through the fabric walls as actors open the back door of the theater offstage. This disrupts the immersive space that both Joe Folsom’s set design and the actors’ interactions had worked so hard to create, breaking the “paranormal” atmosphere established throughout the play.
Focusing on the codes and details, we can see how specific elements on stage add depth to the storytelling. For instance, the balloons representing Claudius and Gertrude’s marriage celebration gradually disappear as the play progresses, subtly signaling the fading joy in their union. During “The Mousetrap,” the Player King and Player Queen (Lauren Baker) turn to face Prince Hamlet, who sits in the audience wearing a Lion King t-shirt—an effective layer of storytelling within the storytelling. This attention to detail also made me curious about what I call the “sock mystery”: some characters wore socks while others were barefoot. I can’t help but feel it was intentional, as Guildenstern consistently wears socks, even with different outfits, while Reynaldo (Devin Johnson) appears sockless only after directly speaking to Hamlet for the first time. I’m convinced there’s meaning here, and I found myself frustrated, yet intrigued, that I couldn’t fully solve this mystery after the play ended.
RUNNING: Through Nov 23, 2024
VENUE: Stone Cottage, 15650 Addison Rd, Addison, TX 75001