‘Hamlet’: A tragedy delivered

By Jim Lowe Times Argus Staff

Shakespeare’s “Hamlet” has been characterized as an internal battle between moral integrity and the desire for revenge as well as that of perception versus reality. Regardless, it is one of the blackest and most powerful works in English literature.

Shakespeare & Company, a respected professional touring theater company based in Lenox, Mass., presented its visually and theatrically powerful production of this great tragedy Friday at the Paramount Theatre.

Hamlet, the young crown prince of Denmark, is angry. His father, the king, is dead and Claudius, his father’s brother, has taken not only the throne but he’s married Hamlet’s mother, the queen, as well. Hamlet is visited by his father’s ghost, who demands revenge, claiming Claudius has murdered him.

Hamlet, finding himself torn between his mother and honoring his father’s request, goes mad. Feigned or real, Hamlet’s madness leads him to fumble and stumble, driving his beloved Ophelia to her demise before Claudius’ order that Hamlet be killed brings matters to a head.

Seen at its first dress rehearsal at the Paramount, the Shakespeare & Company production, despite a few flawed characterizations, delivered the fascination of this tragedy. Director Eleanor Holdridge’s concept illustrated and underscored the emotional bleakness while the action remained riveting to the end.

The black set (designed by Ed Check) surrounded by lines of fluorescent lights, with a chrome-like structure, sets the scene for the sinister goings-on. Contemporary dress (by Jessica Ford), musical accents, sudden thunderbolts of sound (by Scott Killian) and bleak lighting (by Les Dickert) complete the picture.

Jason Asprey (with an oddly Cockney-like accent) created a very human, rather than slick, Hamlet. He was quite successful in delivering the prince’s confusion as to what he was supposed to be doing as he lashed out here and there. It was quite convincing.

Tina Packer, a renowned actress, and Asprey’s mother in real life, delivered a powerful performance as Hamlet’s mother, Gertrude, torn between love of her son and love of her new husband. There was, however, none of the sexual tension when the triangle between Hamlet, Gertrude and Claudius is seen as an Oedipal conflict. Nigel Gore’s underplaying of Claudius’ lust for power made it all the more powerful.

Elizabeth Raetz’ Ophelia, too, was convincing and gave dimension to the doomed lover, though her costumes were a bit odd. Her father, Polonius, was given reality by a solid and convincing performance by Dennis Krausnik.

But Kevin O’Donnell substituted histrionics for passion as Ophelia’s brother, Laertes. Unfortunately, a number of the younger actors resorted to this inauthentic and unconvincing approach, but usually just for a moment or so. Jake Waid, though, gave an unusual depth and authenticity to Hamlet’s friend, Horatio.

Throughout, this production by Shakespeare & Company is of a high level, and truly delivers the tragedy of “Hamlet.”