HAMLET – Written by William Shakespeare; Directed by Chris Coleman. Produced by the Denver Center Theatre Company (14th and Champa, Denver) through October 6. Tickets available at 393-893-4100 or Denver Center.org.
There is no need to address the quality of the script for this production as HAMLET has long been honored as one of the most important plays ever written. It has proven a challenge for the greatest actors of every generation since its first production thought to be in 1600. It is often the tipping point for many professional actors and some actresses with the needed degree of moxie. The point at which they go from “upcoming” to “established.” A badge of honor to be worn through their bios in future programs. The fodder for backstage stories that start “When I played Hamlet . . . . “
So, it’s always fun to see what new twists a group like Denver Center Theatre Company can produce. When a company has the technical skill to create darn near anything on stage and an acting company drawn from the best talent nationwide, the challenge becomes how to utilize this plethora of riches. Director Chris Coleman kept it lean and clean. With a minimalist set (designed by Chika Shimizu) that has echoes of the Northland origins of Elsinore, a decidedly frigidly air about the castle surroundings, with thrones and fire that appear and disappear at will, the pace is not slowed by sluggish scene changes. With costumes (designed by Denver favorite Meghan Anderson Doyle) that enhance the character’s station without overwhelming them, the delineation between royal and attendant is immediate. The startling use of light and sound to start and end the production and move the story forward in time utilized the talents of returning Lighting Designer Paul Whitaker and newcomer Lindsay Jones who also created original music for the evening. With a team like this providing the environment for the actors, it’s now all up to the company to fill the space.
And fill it they did. The Ghost of King Hamlet is fearful and ferocious as portrayed by Brik Berkes, rising out of nowhere and disappearing into a cloud of smoke. Seth Andrew Bridges as Prince Hamlet’s friend Horatio observes the story throughout and remains steadfast to his comrade till the end. Gertrude (Rebecca Watson) is appropriately torn between her devotion to her son and her need to retain her royal standing. The character who arranged his sibling’s death and usurped his crown from Hamlet is Claudius, given an unremorseful life by Brian Vaughn. The remaining court figures are Polonius (Todd Cerveris), his son Laertes (David Lee Huynh), and his daughter Ophelia (Maeve Moynihan). Polonius is properly fusty and a joke to his children; Laertes is a properly loving brother and respectful son; and Ophelia is a properly confused and dutiful daughter. Hamlet has been courting Ophelia but in touching scenes between the lovers, his determination to avenge his father’s death causes him to push her away so she won’t be caught up in his scheme. Which, in turn, drives her mad and to her death. A weapon in the hands of Huynh, an excellent swordsman, leads to the death of Hamlet in an outstanding duel between the two as a finale.
But it generally all comes down to the actor playing Hamlet who guides the production and must live up to the legend of the role. Ty Fanning, along with most of the cast, arrives at this production with Shakespeare under his belt. But this still must be considered a coup for this young actor. He attacks the role with the air of a college student brought untimely home for the funeral of his father and the unexpected marriage of his mother to his uncle only days later. He’s confused and pissed off at his mother for her outrageous behavior, but it’s only after the appearance of his ghostly father does he get a glimmer of what has transpired and grows into his role of revenge. The recitation of the infamous “To be or not to be” speech is often a tipping point for an audience. Fanning’s character seems to have gained resolve by then and has a ready answer to the question. There was no hesitation, no pondering – he seemed to know it was “to be.” Period. He set out then to make it happen. The unexpected residual damage, such as the accidental death of Polonius and the drowning of Ophelia, only fed his desire to bring an end to the reign of Claudius. Fanning brings a levity to some scenes that only underlined his growing madness. He too proved to be an excellent swordsman contributing to the final scene with gusto and determination. A very fitting first Hamlet.
Other Shakespeare lovers may have their own favorite actors portraying familiar characters. But for the young audience members for which this is a first experience with either Shakespeare in general or HAMLET in particular, this will be a production that teaches them that words written hundreds of years ago can still be understood today and can still tell a story that moves.
A WOW factor of 8.5!