I can never resist a production of Hamlet, arguably the best play in the English language, and I was intrigued to see what that splendid actor Giles Terera would make of the titular role. Unfortunately, the only date that suited us was an early preview of the production, in fact only the second public performance, so I am fully expecting much of what we saw to have been subject to change before the press night.
Director Justin Audibert’s stated aim with this production is to emphasise the atmosphere of spying and paranoia that dominates the text. Spying? Yes indeed. Examples include Polonius spying on Hamlet behind the arras, and Claudius sending Rosencrantz and Guildenstern to spy on him and report back. Paranoia, however, is the erroneous suspicion that people are out to get you; and in Hamlet, such suspicion is perfectly justified, not erroneous. So I don’t think that Audibert’s production succeeds in conveying a sense of paranoia.
What it does, very successfully, is suggest a very dark society; gloomy, anxious, in literal need of illumination. Ryan Day’s lighting is subdued and subtle until he turns the bright lights on when it becomes brash and overwhelming. Jonathan Girling’s intriguing and tuneful musical compositions link the scenes quietly but compellingly. Lily Arnold’s stark wasteland of a set suggests dusty, infertile earth – something could easily be rotten in that state – with an upstairs stage box from where Claudius and Gertrude can watch the Players at work, doubling up as Gertrude’s bed chamber; safely detached and away from the sordid machinations of the hoi polloi. Another enclosed balcony to the side looks like an Elsinore version of a lean-to and only allows a small degree of visibility to the audience, but it’s a perfect position from which to spy.
Elsewhere, there are a couple of odd directorial choices; why is it Gertrude who crowns King Claudius? And (spoiler alert) in Ophelia’s final appearance the audience is left in no doubt from her dress that she has recently suffered a miscarriage; clearly that’s the interpretation that Audibert deduces from Hamlet and Ophelia’s relationship, yet earlier in the play there has been very little suggestion of any intimacy between the two at all. In fact, one of the most notable aspects to this production is how clinical and cold the emotions are. Hamlet’s reflections on Alas poor Yorick, often an opportunity for a note of genuine sadness and regret, come across as very half-hearted and tentative. Even at the moment when Claudius realises Gertrude has drunk the poison, he conveys all the emotion of that brief moment of annoyance when you can’t remember why you’ve gone into the bedroom.
At three hours and thirty minutes, it is a long production; and whilst the first act rips by, the second act slows to a laboured pace. The climax chosen on which to end Act One (the moment Hamlet steals up behind the praying Claudius and is ready to strike him dead) doesn’t work, because there’s no real dramatic lead-up to this moment and the audience knows full well he’s not going to kill him at this point. It feels false. Elsewhere, well acted though it is, the gravediggers’ scene seems immensely too long and could do with some extensive pruning; and they’ve extended the role of Osric to cover two other minor roles, which detracts from the character’s final scene foppish impact.
There are, however, plenty of good characterisations and scenes. Geoff Aymer’s ghost is an ethereal, gasping presence who really would terrify you if he appeared on your battlements at night. Sam Swann’s Horatio is a warm and supportive friend to Hamlet, and Tim Preston and Jay Saighal’s Rosencrantz and Guildenstern are much more than the vacuous ciphers that they’re often portrayed. Sara Powell is a very credible Gertrude, with no hidden agenda and no suspicious side to her character, just a kindly mother and wife who wants to do her best under the circumstances. Keir Charles is a superb Polonius, again very believable and realistic, sharing his suspicions and concerns about Hamlet in a series of delightful interactions with the audience; pompous and self-serving, but not in an alienating way, so that he becomes the audience’s favourite. Eve Ponsonby gives us a powerful, hysterical Ophelia who has completely lost control of her senses. And, if you enjoy stage combat like me, the swordfight at the end is genuinely exciting to watch.
I have some uncertainty about two of the main performances but hope that they will have become more rounded by the time press night comes around. Ryan Hutton’s Laertes is fine in his opening scenes but on his return after the death of Polonius, he tends to shout and stab at his lines, rushing through them without much meaning. And Ariyon Bakare’s Claudius is the opposite, giving us a rather quiet and underplayed performance, repressing the character’s sentiments rather than releasing them. But hopefully these performances will have borne fruit by now.
I always think it’s important to establish just how mad or otherwise the character of Hamlet is; and Giles Terera convinces me all along as being 100% sane, with his hawks and handsaws clearly demarcated for all to see. Comfortable with those he trusts and very suspicious of those he doesn’t, his soliloquies are for the most part well-paced and clear, and his storytelling is convincing. Like the rest of the production, his emotions seem sometimes oppressed; but it’s a believable and honest performance that holds the production together well.
It’s atmospheric and easy to follow (you can’t always say that about Hamlet), although perhaps it lacks a little theatrical magic. I was surprised at the number of people (maybe 10% of a sold-out audience) who did not return after the interval, as it’s a perfectly solid production, gimmick-free and respectful of the text. Hopefully time has ironed out any problems it faced during previews, which would probably merit an extra star!
Three-sy Does It!
