Movies

Hamlet’s Titanic Adventure: A Sinking Tragedy on Stage

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Hamlet (Royal Shakespeare Theatre, Stratford-upon-Avon)

Verdict: Lost at sea

It seems to me that perhaps Shakespeare had a specific intention when he placed his masterpiece, Hamlet, within the walls of a castle.

Indeed, I found myself in a position where I had to cater to the entire Danish royal court, a restless crowd, a traveling theater troupe, and even passing military forces. Quite an undertaking, wouldn’t you agree?

However, it hasn’t stopped Rupert Goold, the incoming artistic director of London’s Old Vic, from bravely staging the play aboard a ship. None other than the Titanic itself; during its ill-fated voyage that ended in catastrophe in 1912.

It’s an idea which, according to the production’s designer, Es Devlin, came to Goold in a dream.

As an ardent admirer, I’d breathe life into an antique, doomed ocean liner, transporting the entirety of Early Modern Danish society aboard, all resplendent in Edwardian attire.

The outcome presents a production where Luke Thallon’s squad, acting as the vengeful Prince Hamlet, confront issues that prove to be unnecessary, self-inflicted struggles. Eventually, they succumb, concluding the performance after a span of three hours.

As a devoted admirer, I often ponder over how Laertes, Hamlet’s friend and rival, navigates his academic journey at Wittenberg University, given that the ship is in the middle of the Atlantic. Could he possibly hitch a ride on a helicopter or flag down a passing aircraft carrier? These are intriguing thoughts!

Why do we find a group of progressive actors (dressed in ancient Greek attire) aboard the ship? Could it be that they are secret travelers, hiding as stowaways?

Additionally, an unusual dilemma arises due to the necessity of having a gravedigger aboard. To circumvent this issue, there are TWO gravediggers on the team, one carrying a suitcase that holds Yorick’s skull.

The confusing situation isn’t improved by Thallon’s acting. His portrayal seems to disregard Shakespeare’s poetry, with occasional overemphasis on certain words, repetition of others, and lengthy pauses that don’t seem to add meaning. I frequently found it hard to follow his line of thinking.

Additionally, he disregards every rule Hamlet imposes on actors (abstaining from silent expressions, exaggerated gestures, or overly emotional displays).

Poor fellow, not even his gun managed to discharge, intending to eliminate the bothersome courtier Polonius (portrayed by Elliot Levey), during the performance I attended on Wednesday.

One unfortunate result of this oceanic mishap is that Nancy Carroll’s character, Gertrude, loses one of the most breathtaking monologues from Shakespeare: the recounting of Hamlet’s former lover Ophelia’s death beneath a willow tree near a stream, a setting rare in the North Atlantic.

In addition, Jared Harris’s kingly uncle, responsible for Hamlet’s father’s death, appears to be tormented just as much, if not more, than Hamlet himself. He is often seen mumbling and making dismal sounds when left on his own.

Next year, the tour for the show is likely to take place with a new cast and a smaller stage setup. Until then, you can admire Devlin’s design featuring an imposing deck that appears to rock and creak as the ghost ship Elsinore navigates icy waters, projecting dark, turbulent water in its path.

Eventually, it tips at an angle of 45 degrees, causing the fishing rod to fall into the water, ending the scene in a disappointingly truncated manner, apparently adjusted to satisfy the aimless sailing aspirations.

Or more concisely:

The fishing rod finally tilts at a 45-degree angle and falls overboard, concluding the scene in an underwhelming way, seemingly tailored to meet unambitious nautical desires.

This idea is daring, much like the Titanic voyage itself. However, just as the Titanic’s boldness revealed an iceberg of overconfidence, so too can this endeavor meet its end due to excessive pride, leading to its downfall and sinking.

(The first sentence was rephrased to make it more engaging and easier to understand.)

Until March 29.

 

Doubt (Ustinov Studio, Bath)

Verdict: Dark dilemma

A drama titled Doubt could potentially revolve around a Catholic priest, two nun educators, and a devout parent of an adolescent altar boy, delving into the ongoing struggle and commitment that characterizes the unwavering belief inherent to religious devotees.

The play Doubt focuses on a Catholic priest, two nuns who teach, and a deeply religious parent of an altar boy, exploring the continuous challenge and steadfastness that defines the faith-based conviction of believers.

Without a shadow of a doubt, the undercurrent of doubt is clearly present in John Patrick Shanley’s 2004 work, which can be seen as a parable and is based on his experiences at a Catholic school in the Bronx during 1964.

However, a central question arises about whether Father Flynn, who is both a well-respected chaplain and basketball coach, is truly responsible for the accusations made by Sister Aloysius, the school principal, of inappropriate behavior towards Donald Muller, the school’s 12-year-old first black student.

In the skillfully staged production by Lindsay Posner, shrouded largely in dimness yet accentuated by a glowing cross, there’s a fitting air of doubt and apprehension.

At times, insufficient exploration can be a shortcoming, as seen in the play where Maxine Peake’s character, Sister, remains underexplored, her motivations being too sparingly delved into.

There’s no question about her unrelenting sternness. With her hood up, she appears as if she has fled from Arthur Miller’s The Crucible.

Or,

Her relentless harshness is beyond dispute. Under a hood, she seems to have escaped from the world of Arthur Miller’s The Crucible.

After getting married, she views art, music, and boys as unimportant or unnecessary, finds the priest’s nails unusually long, and doesn’t appear to be overly worried about little Donald. Does this mean she is a misandrist? (It seems she does not share the same sentiment towards Donald.)

In stark contrast to the world’s cynicism, I find myself utterly captivated by the radiant Sister James, brilliantly portrayed by Holly Godliman on stage for the first time. Her character glows with an innocence that feels like a beacon of goodness in this otherwise skeptical universe. Simply put, she’s a breath of fresh air in a world that desperately needs it.

Ben Daniels is remarkably slick, carrying a charisma that sometimes borders on being too ingratiating. When called to Sister’s office, he takes a relaxed seat in her chair. Is he trying to be excessively friendly, or is he showing off his authority?

The most compelling moment occurs when Sister Aloysius and Donald’s mother (exceptionally portrayed by Rachel John) firmly decline to join the nun’s campaign, as Mrs. Muller prioritizes her son’s graduation instead. Pragmatic Mrs. Muller, who harbors suspicions about her son possibly being ‘that way’, is convinced that her husband would react violently if confronted with something like this, so she urges Sister Aloysius to back off.

In a succinct 90-minute discussion, two impactful statements arise: ‘Have you never made a mistake?’ and ‘Confidence isn’t based on truth, it’s a feeling.’ A thought-provoking insight to ponder upon.

GEORGINA BROWN

 

East Is South (Hampstead Theatre, London) 

Verdict: All over the place

As a lifestyle expert, I must admit that “East Is South” is a production that surpasses my level of comprehension. However, from what I can gather, it seems to be far more complex than the works of its creator, Beau Willimon – the mastermind behind the American adaptation of the globally acclaimed British TV series, “House of Cards.

To put it simply, the story revolves around a character named Lena (played by Kaya Scodelario), who stands accused of tampering with a highly classified United States artificial intelligence program. This project, remarkable in its capabilities, is said to possess divine potential due to its self-directed evolution process.

The only thing this AI struggles with is paradoxes (such as the title).

However, with assistance from her covert liaison at the National Security Agency, Lena has successfully rectified that issue.

In summary, it appears to me that the play aims to establish a parallel between a powerful, all-knowing computer and the abstract concept of cosmic consciousness.

In my perspective, this work appears as a quilt of mystical theological snippets and scholarly resumes. To put it simply, Willimon’s characters appear more like they’re programmed with codes than filled with blood.

I’m absolutely thrilled to say that the brilliant performers, such as Nathalie Armin as the relentless interrogator and Cliff Curtis portraying the professor discussing divine matters and the cosmos, truly excel at making it appear as if they have every line memorized to perfection.

Similarly captivated by the enigmas of their respective works, Emma Scodelario immerses herself in the mysteries of her own creations, much like Luke Treadaway does with the symphonies of Johann Sebastian Bach.

In a nearly monochrome office backdrop, where the costumes mirror the gray tones, Ellen McDougall’s production presents no visually soothing contrast. Instead, it confusingly jumps from one direction to another, resembling a faulty compass struggling to find its bearings.

PATRICK MARMION

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2025-02-21 03:23

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