HAMLET To 22 August.
London.
HAMLET
by William Shakespeare
Wyndhams Theatre To 22 August 2009.
Tue-Sat 7.30pm Mat Wed, Sat 2.30pm Sun 3pm.
Runs 3hr 15min One interval.
TICKETS: 0844 482 5120.
www.donmarwestend.co.uk (£1.50 booking fee per ticket by ‘phone or online).
Review: Timothy Ramsden 4 June.
Brisk yet thoughtful Hamlet finds truth away from the extremes.
Denmark’s a prison – or a dungeon, as Hamlet is first glimpsed, alone and anguished, surrounded by high, dark walls, which later reveal remote, high windows. As the Prince trudges around wondering whether to be or not, snow bleakly falls.
Jude Law’s impressive Hamlet makes the verse seem modern and natural without losing its shape. If anything, he makes the soliloquies seem too easy. But by refusing to gnaw on each implication of the speeches he contributes to the pace and clarity of Michael Grandage’s tactfully-cut production.
He’s also as calm a Hamlet as might be found; the “antic disposition” seeming something he talks about without necessarily adopting. Yet there’s genuine strain within him. Madness might lie that way, but is not quite reached.
After the silent opening vision of the solitary Hamlet, he’s seen again in the court, his back to us, slowly revolving into view. These two initial images form a palimpsest, creating outward and inner realities. In contrast to his youth, most of the other impressive performances come from mature performers. David Burke’s ruminative Gravedigger is a stolid worker, not a jester doing the day-job. When he holds Yorick’s skull out to Hamlet, the Prince’s response suggests the identification is an integral part of the curious puzzlement existence has become.
Peter Eyre contrasts Hamlet’s father’s Ghost, combining commanding pose with a sense of infinite loss as he stares into the air, with a First Player who shrugs off as natural the ability to learn an extra speech – then turns impatiently away when Hamlet interrupts his line-learning with the theory of acting. It’s a rare moment, seeing the character others admire, hate or fear become a mere nuisance.
In neutral clothes (this is a modern, dressed-down production), Penelope Wilton’s Gertrude often seems in the shadow of Kevin R McNally’s apparently benevolent Claudius – even his exit from The Mousetrap when he realises whodunit is controlled. Yet Wilton’s Gertrude marks out her moments of surprise.
Aptly, Ron Cook’s Polonius is neither bumbling idiot nor sinister henchman, in a production where ambition, innocence and despair co-exist in the mini-world of Elsinore’s court.
Barnardo/1st Gravedigger: David Burke.
Francisco/Fortinbras/4th Player: Alan Turkington.
Marcellus/3rd Player/2nd Gravedigger: Henry Pettigrew.
Horatio: Matt Ryan.
Claudius: Kevin R McNally.
Osric: Ian Drysdale.
Laertes: Alex Waldmann.
Polonius: Ron Cook.
Gertrude: Penelope Wilton.
Hamlet: Jude Law.
Ophelia: Gugu Mbatha-Raw.
Ghost of Hamlet’s Father/Player King: Peter Eyre.
Reynaldo: Sean Jackson.
Rosencrantz: John MacMillan.
Guildenstern: Gwilym Lee.
Player Queen: Jenny Funnell.
Cornelius/Captain/Priest: Harry Atwell.
Members of the Court: Faye Winter, Colin Haigh, James Le Feuvre.
Director: Michael Grandage.
Designer: Christopher Oram.
Lighting: Neil Austin.
Sound/Composer: Adam Cork.
Wigs/Hair: Richard Mawbey.
Text consultant: Russell Jackson.
Associate director: Sam Yates.
Associate designers: Andrew D Edwards. Richard Kent.
Associate sound: Marcus Christensen.
Fight director: Terry King.
2009-06-12 07:27:20