There is something rotten in the state of Denmark, but there is little at fault with Barking Gecko and WAAPA’s co-production of one of the Bard’s greatest plays. The running time has been cut from four hours to two, but the intense drama is retained.
Set in Helsingør, the stark set – reminiscent of a hospital ward – brings the question of Hamlet’s mental state to the forefront, as well as providing a context for Ophelia’s fragility.
James Sweeny as Hamlet was truly outstanding, spending nearly the entire performance on stage, always in character, whether part of the action or the scenery. His mobile face contorted with precisely the right lack of sincerity and struck a menacing note of unease when merry.
Madeleine Vizard’s Gertrude conveyed the queen’s sexual nature well, and the jarring conflicts between her and Hamlet were strong. Claudius (Michael Abercromby) was superb, statesmanlike and concerned for his nephew, maintaining a consistent façade.
Ophelia (Rose Riley) was given an interesting spin, extreme costume changes complementing her famously contrasting mental states. The casting decision to play Polonius as a woman was inspired – Grace Smibert brought a briskly efficient manner to the role, reminiscent of officious middle-management everywhere. Horatio (Nicholas Starte) and Laertes (Samuel Delish) were both strongly drawn, and Rosencrantz (Felix Johnson) and Guildenstern (Ayeesha Ash) were a charmingly faithless double act. Ensemble work was strong, with quick changes from travelling players to watchmen to hospital cleaners using every moment of performance time effectively.
The set included a false ceiling, complete with ceiling tiles and fluorescent tubes. These were more than a gimmick, being used for the creation of atmosphere at different points and heralding the arrival of the supernatural. Flickering lights added to the sense of unease, discomfort and foreboding during various encounters and monologues.
The graveyard scene was a delight of surprising set design, abruptly taking us from the hospital to the realm of earth and decay, with real soil, realistic human remains, and a detached Sexton (Bill Thompson).
Costumes were highly stylised, with some performers in hospital gowns and nightwear, others in rigidly formal business attire. Some wore janitorial uniforms, others were clad in fantastic ‘smart casual’ wear, not matching any real world fashions. Ophelia’s costume change from prim and proper to mud-smeared underwear was shocking, and worked extremely well, especially with her donning a red paper crown mimicking Hamlet’s plastic one. The ghost of the dead King (Andreas Lohmeyer) was more prop than character, but the image of his blood-smeared visage covered in chain mail and stalking around a strobing ward was striking.
A modern interpretation of a classic play, John Sheedy’s Hamlet combines Barking Gecko’s experiences of entertaining younger audiences with the youthful energy and exuberance of WAAPA’s students to create an engaging and accessible tragedy.
Rating: Four stars
Hamlet
By William Shakespeare
Barking Gecko Theatre Company presents a Barking Gecko Theatre Company and Western Australian Academy of Performing Arts Production
Directed by John Sheedy
Featuring WAAPA 3rd Year Acting, Production and Design students
Set / Costume Designer: Patrick James Howe
Lighting Designer: Tegan Evans
Sound Designer: James Luscombe
Fight Director: Andy Fraser
Production Manager (Barking Gecko): Genevieve Jones
Production Manager (WAAPA): Eva Tilley
Stage Manager: Michelle Karas
Lighting Mentor: Trent Suidgeest
Performed by James Sweeny, Rose Riley, Madeleine Vizard, Michael Abercromby, Grace Smibert, Felix Johnson, Ayeesha Ash, Samuel Delich, Nicholas Starte, Andreas Lohmeyer, Emilie Cocquerel, Bill Thompson, Oscar Harris, Cecelia Peters, Justina Ward, Shaynee Brayshaw and Charlotte Devenport
Subiaco Arts Centre, Subiaco
16 – 22 March
