As a long-time Shakespeare lover, I was heartened to behold a packed house for the opening night of Hamlet at the Timicua Arts Foundation. This was my first visit to the foundation, which seems to offer space for a variety of artistic events including concerts and poetry readings as well as theatre rather than being occupied by any particular company.
For only the rest of this weekend, their current tenant is director Michael McNamara’s version of Hamlet. Because of the play at hand’s age and ubiquity, I’m assuming I can jump right into the production’s specifics from here without stopping to explain much about the story or characters, and that I won’t be “spoiling” anyone’s experience in referencing some basic plot points.
I should also probably note that while I have some familiarity with the text, I am by no means a Hamlet expert—nor am I exactly equipped to start combing through the play’s 400+ year history to try and gain a better frame of reference.
For the most part, though, I found this variation to be a relatively straightforward and surprisingly engaging take on the timeless play. For one, not only do the show’s talented cast of actors command the stage, but take reign over the entirety of the theatre space, waltzing through the aisles, emerging from the lobby, and even descending a perilously narrow staircase from the theatre’s mezzanine.
More importantly, their committed portrayals of their respective characters hit all the emotional notes needed to make the story work. And, along the way, a few fun theatrical flourishes help breathe new life into the classic for repeat viewers.
For instance, while sharing dialogue, siblings Ophelia and Laertes also duet on piano. When the ghost of Hamlet’s father appears, he floats about the stage with the help of several puppeteering cast members. His voice gets a creepy edge thanks to some eerie sound effects, and he’s not the only “ghost” that can be seen or heard “haunting” the proceedings as the play goes on.
As Hamlet, performer Sara BenBella first wins us over with rogueish charm and expert comedic timing during the play’s early sections—then gracefully navigates a landscape of rage and terror as Hamlet becomes more unhinged.
Speaking of unhinged— Julia Kaufman’s subtle portrayal of the mild-mannered Ophelia didn’t stand out to me right away among the showier characters’ antics. But Kaufman’s complete change in demeanor and visceral intensity as her character loses her own grip on sanity was one of the most gripping moments of the play.
On a similar note, while Marina Russell holds her own as Horatio throughout, she is particularly moving in navigating the tragedy’s shattering conclusion. The rest of the leading players include Brenna Arden as Gertrude, David Afkham as Claudius, and Trevor Spence as Laertes, all of whom are also given the chance to showcase their impressive emotional range during Hamlet’s dramatic heights.
Spence also gets the chance to ham it to the hilt as the Player King, Kaufman doubles as Fortinbras, and the remaining four ensemble members play take on at least three roles each. (Dr. Dene Gainey as Polonius/Sailor/Priest, Paula Espinosa as Rosencrantz/Player Queen/Ambassador, Joe Kolasa as Guildenstern/Marcellus/Gravedigger, and Manny Amor as Bernardo/Osric/Captain/Gravedigger. )
Espinosa also helps differentiate these characters from one another through her work as costume designer, and the similarly multitalented Benbella is also credited as puppet designer. And director McNamara additionally served as scenic and props designer, creating a coherent stripped-down aesthetic for the play that serves his vision well.
As sound designer, Kaitlin Brazzell makes the most of Timicua’s unique acoustic makeup, enabling actors’ voices to echo across the space. Charles Édward Glazer’s lighting design ably navigates quite a few mood and scene shifts.
Though the show felt well-paced overall, I will note that the three hour running time coupled with the dense and challenging language could be a bit much for audiences unaccustomed to Shakespeare’s style. I’ll also pass on some content warnings from the program and mention that the production includes loud noises, sounds of gunshots, and violent depictions of death.
I could also see how the weight of questions like “to be or not to be” could be off-putting to audiences in the mood for something a little more escapist—despite McNamara’s efforts to include plenty of lighter moments, there’s really no avoiding the devastation of Hamlet’s dark trajectory. But if you were to ask me:
”To see or not to see?”
I would say that the poetry and profundity of Hamlet is well worth enduring the plot for— and that the production at hand is well-worth the price of a ticket!
REMAINIING SHOWTIMES:
Saturday 6/21 @2:30 PM and 7:30PM
Sunday 6/22 @7:30PM
@ 2000 South Summerlin Avenue
Orlando, Florida 32806
CAST:
TICKET PRICES:
$30 – General Admission
$22.50 – Students, Military, Seniors, and Teachers
$10 – Livestream Tickets
Purchase/ learn more here!