Hamlet Redux is an adaptation of Shakespeare’s lengthy, complex tragedy to perform mainly for middle-schooled kids to young adults. From all of the actors, or each in turn, rendering lines from the Speech-to-the-Players comes a one-act coming-of-age play centered on a young Hamlet. He reaches Court after a scene in which his mom Gertrude kisses his dad, and then as King Hamlet lies asleep, summons his brother Claudius to poison him.
The murderers no sooner marry, with Claudius now King, than Hamlet Jr. is back in black at Elsinore. Laertes too, but in white, like his sis Ophelia. (According to the program, everything’s on the verge of momentous change.) Called on to avenge his dad, Hamlet has decided to play crazy, but he really seems to more than just like his Chaplinesque derby and acrobatic antics. He makes goofy faces and wacky remarks. All’s enough to convince Polonius that Ophelia, having rejected Hamlet on his orders, caused the craziness. Still, even after rudely putting her down, and everyone wondering what a piece of work is (such a) man, he confusingly cuddles up to her during the aborted play that proves Claudius’ guilt.
Too bad Hamlet can’t kill Claudius when he thinks he’s praying or when he instead mistakenly offs Polonius in Gertrude’s chamber. After Ophelia goes mad and drowns, Hamlet and Laertes fight at her burial in ground arranged by a funny Gravedigger. Claudius nevertheless gets Laertes to supposedly make up with Hamlet via a friendly duel, in which Laertes will wield a poisoned sword. Both get whacked with it when the plan goes awry, even to Gertrude drinking wine Claudius poisoned and Hamlet finishing him off with both wine and sword. Luckily, the boys have made up before they die, but the few left bemoan all the corpses.
For Hamlet, the readiness to reach maturity was what this adaptation stressed, but he didn’t get a chance here to use it for anything but obeying his dad’s Ghost, and that was the end of both Hamlets as well as Hamlet Redux. It is hoped that with its thematic emphasis, the plays within and around Hamlet’s reduced story will be welcomed by a variety of young audiences the production aims to reach and help them appreciate its original writer. Maybe even read the original play and appreciate it. Both the direction and technical work (symbolic props and mod sound) obviously have that goal.
Modern dress brings characters up-to-date. Hamlet’s derby and black casuals contrast well with the more formal court costumes. Gertrude’s purple gown not only denotes royalty but puts her symbolically as well between the black and white-clad others. A gold paper crown nicely symbolizes King Hamlet, his Ghost, and the power usurped by Claudius.
A major purpose of the production is training Conservatory actors, especially to tour. Geoff Knox seems easily to take Hamlet’s differing moods in stride. He matures well in a short time. Benjamin Boucvalt brings to Claudius a sly asssurance that will end in believable chaos. Undercurrents of motherly upset are detectable in Gretchen Porro’s otherwise regal attitude. Attractive Ashley Scallon and Jon-Michael Miller as Ophelia and Laertes display familial love and duty beautifully, just as they grapple with how they must obey authority. Jake Staley appeals as both a serious Polonius and a mildly comic Gravedigger.
The actors’ youth proves an asset in the case of Hamlet, Ophelia and Laertes but isn’t a problem with the other interpretations. Make-up and hair styling help.
