KPhamletcritique

Kate Plumblee // Hamlet //Review
 * PROS: **

1. Director Ray Paolino’s conceptual focus of the play is very creative and inspired. Placing Shakespeare’s famous // Hamlet //in an industrial and modern setting allows the audience to better relate and connect to the characters, thus more straightforwardly emphasizing the major themes and lessons of the play. 2. Additionally, scenic designer Erin Marie McElroy created a space that fits the concept perfectly while also permitting the actors a variety of movement. In particular, the way the Ghost exits, walking down “into the ground” but actually relocating under the stage, generates an appropriately eerie effect. 3. The Ghost’s costume—a gold, sparkling, and mechanical-looking suit of armor—is both striking and impressive. With this costume in particular, designer Christin Schifano embodies the modern focus while at the same time creating a sense of mystery, magic, and foreboding around the Ghost’s character. I especially appreciate the addition of the chain; although a somewhat trite image, it emphasizes the idea that the Ghost has a binding and vital reason to speak to Hamlet. 4. Though most of the actors seem more professional than any of the plays we’ve seen yet, F. Tyler Burnet, playing Claudius, takes over the play whenever he walked onstage, as a King should. His presence is not overwhelming, but simply outstanding, most likely as a result of his booming voice and towering stature. 5. Brian Kimmel, as well, who plays Hamlet, personifies his character very well. Even though I was initially shocked by his look—short in stature and slouched—his fittingly exaggerated body language and facial expressions took me by surprise and convinced me he deserves to play such a classic main character. ** CONS: ** 1. While director Paolino’s concept is interesting and creative, its execution is not complete. Many of the character’s costumes maintain some aspects of “classic Shakespeare,” which only confuses the audience and weakens the effect. In addition, some of the modern props, like Hamlet’s digital camera, seem superfluous and unnecessary to the progression of the show. If Paolino wanted to modernize Shakespeare, he should have done it thoroughly. 2. Many of the sounds, as well, are bewildering and out of place. I’m not sure what designer John Kundert-Gibbs was thinking as he chose the sounds for the production, but at several moments, the harsh noises only distract the audience from the action onstage. For example, whenever the Ghost enters, a loud, mechanical, jarring, and frankly, annoying noise fills the theatre, which takes away from his supposedly enigmatic and supernatural disposition. 3. Shelli Delgado, who plays Ophelia, does not fit her character in any way. In many other roles, she could shine as an actress, but, ideally, Ophelia is supposed to be a beautiful, mysterious woman with a slender figure, and long, flowing hair—physical traits which Delgado does not possess. Furthermore, Delgado seems sometimes timid onstage, yet her character should act angelic and alluring. 4. At the beginning of the play, when Horatio, Marcellus, and Francisco stand outside of the Danish castle, Marcellus holds a flashlight, which he waves around as if it is a dark, grim night. Despite the desired effect, the flashlight shined into my eyes more than once, forcing me to cringe and look away from the stage. This annoyance happens more than once; Marcellus again uses the flashlight in several following scenes. 5. During many of the most important scenes, some of the players would climb the set, watch the action onstage, and just be present amongst the other characters. I found this to be extremely distracting from many significant theatrical moments, as my eyes strayed to their looming figures rather than staying focused on the actually play happening center-stage.