From ‘The Pitt’ to ‘Hamlet’: Patrick Ball and a twisty take on Shakespeare come to the L.A. stage

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Pondering whether to play a ruthless killer or not, that’s the dilemma I find myself grappling with, right at the core of this new adaptation of “Hamlet” opening at the Mark Taper Forum on Wednesday. I, myself, am Patrick Ball, basking in the glow of my breakout role as Dr. Frank Langdon in the popular series “The Pitt.

Starring Gina Torres from “Suits,” this reimagining by director Robert O’Hara takes a classic play and sets it against the backdrop of a crumbling Hollywood glamour of today. In this version, the story unfolds around a mansion on the coast and an old 1930s soundstage. The Hamlet family owns a movie studio, and instead of being a tragic hero, the Danish prince is portrayed as a figure of intrigue whose sanity and motive for murder are explored through forensic investigative techniques reminiscent of “CSI.” The second act offers an unexpected twist by questioning his actions, providing a fresh take on the first 90 minutes which are presented entirely from Hamlet’s point of view.

Additional sequences and a generous amount of colloquial, sometimes salty, language are featured, as the dialogue fluidly moves between ancient and modern speech patterns.

In an astonishing turn of events, Ball finds himself in this extraordinary situation, with his visage gracing billboards, bus shelters, and streetlight signs citywide. Remarkably, he was virtually unrecognized prior to landing the lead role on the culturally relevant medical series “The Pitt”, which debuted in January and attracted over 10 million viewers per episode, ranking among Max’s top five most successful original series premieres ever. In his own words, this phenomenon is nothing short of a miracle.

Before that, his only screen appearance was a solitary episode of “Law & Order.” Nevertheless, he had spent a decade pursuing roles in film and television, as he puts it, constantly auditioning but never quite making it. Additionally, for four years, he traveled extensively for regional theater, appearing in productions such as “Romeo & Juliet,” “Cat on a Hot Tin Roof,” and “The Lover” in cities like Washington D.C., St. Louis, Boston, and San Diego.

Ball stated, “I’d decided that was all there was for me, and I was content with that choice.” He added, “The allure of Hollywood had faded, and I accepted that it wouldn’t be part of my journey.

Suddenly, “The Pitt” occurred, and it seemed destined. Hailing from North Carolina, his mother is an ER nurse, while his father is a paramedic. The narratives portrayed on the Noah Wyle-led drama struck a chord with him. Upon reading the pilot episode, they declared, “This aligns with real medicine. This feels authentic,” Ball recounts, reminiscing about their enthusiasm for him. To have the opportunity to share stories that resonate with his hometown community is, in his words, a gift.

Working alongside veterans such as O’Hara and Torres is a significant advantage. Notably, O’Hara, who is also a successful playwright, was nominated for a Tony in 2020 for his direction of Jeremy O. Harris’ critically acclaimed “Slave Play.” This production broke box-office records during its West Coast premiere at the Taper, earning an impressive $1.4 million in just five weeks. Ball mentions that after watching the show in New York, he spent a continuous four hours discussing it with his companion.

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In a different phrasing, O’Hara has an intense fascination for true-crime series such as “48 Hours,” where suspects stubbornly maintain their claims of innocence despite clear evidence against them during playbacks. This influence is reflected in the second act of his play, which adopts a somber, film-noir atmosphere reminiscent of a classic detective story. The plot unfolds in a flashback style, with characters being interrogated by a detective following the play’s final, violent act. Picture a blend of David Lynch’s surrealism, Alfred Hitchcock’s suspense, and a set design inspired by Salvador Dali’s dreamlike landscapes.

During an interview following rehearsal, O’Hara humorously remarks, “I can just hear the audience thinking, ‘Hold on, seriously? You put poison in his ear? Who even puts poison in their ear?'” Ball and Torres chuckle nearby. “As for this abundance of poison,” he continues, “it’s not something I concocted. Somehow, Claudius has a secret stash of it.

And what about that ghost?

In Shakespeare’s Hamlet, the character encounters a ghost that reveals his uncle Claudius killed their father; in O’Hara’s adaptation, it’s unclear if Hamlet truly saw a ghost or if he’s feigning insanity to cover up a murder. The world of Hollywood noir, as depicted here, is characterized by its blend of glamour and mental instability, where power, entitlement, and privilege often lead to chaos.

Shakespeare seldom focuses on ordinary people, as O’Hara points out, and Ball adds, “That ties back to the essence of Los Angeles.” “After all,” she continues, “my title is ‘prince.’ In America, the equivalent of that is celebrity. Hollywood, then, could be considered our Elsinore. So being able to tell this story in such a manner, within this city, is an exciting prospect.

It came as a shock to Ball that O’Hara hadn’t watched “The Pitt” before deciding to choose him for the role of Hamlet. Instead, it was the power of Ball’s audition that caught O’Hara’s attention. Interestingly, Ball had performed his audition in a hurried manner using his phone, which he later described as “crazy.

In his words, “You need to be self-assured and daring enough to take on Hamlet, knowing deep within that you are capable of doing so,” O’Hara explains. “Otherwise, if I had to convince someone of their ability to pull it off or boost their confidence, the whole process would be entirely different.

O’Hara was completely convinced: He desired Torres to portray Hamlet’s mother, Gertrude. He admired her in “The Matrix” sequels and as the powerful lawyer Jessica Pearson on “Suits.” So confident was he that he didn’t even ask her to try out for the role. However, Torres had some doubts.

Initially, she doubted if her peri-menopausal mind was up to the task, but then reading O’Hara’s script changed everything for her. She was captivated by the concept of portraying a Gertrude that audiences haven’t experienced before.

Torres’ detailed resume on screen spans quite a distance, yet her stage credits are not numerous. This is amusing, she notes, because, as a native New Yorker, her ambition was to become a Broadway star. However, she landed a recurring role in a soap opera and then a pilot, propelling her forward in her career.

Speak with any actor from New York, and they’ll often say, ‘I’m only doing enough TV work to return home and perform in theater.’ This sentiment is frequently expressed, and then, without realizing it, eight years can pass.

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There’s a thrilling instant as the stage manager shouts “places” and the curtain goes up – this is what acting is all about according to Torres.

She explains, ‘We simply soar,’ emphasizing the pursuit of the feeling of freedom and camaraderie onstage. If an issue arises, we adapt rather than abandon our journey. There’s no pause or retreat; we keep going without a safety net.

In his adaptation, O’Hara aimed to capture that specific emotion. He requests just a single performance per day, maintaining an element of novelty to encourage innovation and potential discoveries. As for the actors, he emphasizes the importance of having the flexibility to explore the play, allowing it to breathe and unfold organically.

He states that he doesn’t prefer it to be thoroughly taught or instilled, instead he desires a touch of stimulation and a sense of buzzing.

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2025-06-02 13:31