Gritty, Gutsy and Glorious: An Unforgettable ‘Hamlet’ for Today

Gritty, Gutsy and Glorious: An Unforgettable ‘Hamlet’ for Today

By Lynn Venhaus

An invigorating energy, combined with an intriguing neo-noir atmosphere, mark an unforgettable milestone production of William Shakespeare’s most famous work, “Hamlet” as this year’s 25th St. Louis Shakespeare Festival in Forest Park offering.

Director Michael Sexton’s novel interpretation is moody and minimalist, with scenic designer Scott C. Neale’s striking mid-century modern setting. Sexton follows through his stylistic vision with a noteworthy flair.

From the bold first appearance of King Hamlet’s ghost (Larry Paulsen), the prince’s father, one can sense we’re in for electric, thrilling storytelling, and these inspired choices bring out the best in the impressive ensemble.

Think the angsty howl of James Dean in “Rebel Without a Cause” combined with Robert Pattinson’s emo rendering of tormented Bruce Wayne in “The Batman” for this new-age Hamlet. After all, no one out-broods this iconic prince of Denmark.

Raw, confrontational and reeling in emotional distress, Michael Khalid Karadsheh is mesmerizing as the boy – to the manner born — who comes home from college in Germany to learn of a “murder most foul.”

The play within a play. Photo by Phillip Hamer.

His father has been killed, and his mother Gertrude (Jennifer Ikeda) has married his uncle Claudius (Glenn Fitzgerald), who has seized the throne. He is the leading suspect in his stepson’s eyes and ever the manipulator, is trying to cast doubt on Hamlet’s stability.

“Something is rotten in the state of Denmark,” military sentry Marcellus (CB Brown) fears. Meanwhile, a war is brewing. Hamlet is a powder keg of emotion as he plunges into a downward spiral, suspecting corruption and abuse of power. A sense of foreboding is palpable.

Written around 1600, Shakespeare’s tragedy endures because of rich characters, complicated relationships and sharp observations about human nature. In the pastoral setting of Shakespeare Glen, the festival team blows the cobwebs off your English lit textbook with a fresh look at these Danish royals.

That includes a dynamic black, white, and red palette with shades of gray for unconventional statement designs – in Oana Botez’ functional, comfortable costumes (reminiscent of The Beat Generation and “Mad Men” wardrobes), Denisse Chavez’ atmospheric lighting emphasizing dramatic shadows, and Neale’s layered set. You won’t miss a palatial setting for Elsinore Castle.

Scott C. Neale’s striking set. Photo by Phillip Hamer.

The innovative dramatizing includes a versatile thrust stage (just like Shakespeare’s Old Globe) – 50 feet that juts from the standard proscenium stage. This allows for a more intimate connection with the actors.

And if you are waiting to be wowed by Hamlet’s soliloquies, Karadsheh’s emotional pleas are in optimum positions, and his commanding delivery of one of the most famous literary passages is a joy to behold. Drink every word in of the beautiful iambic pentameter.:

“To be, or not to be, that is the question
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And by opposing end them. To die—to sleep,
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to: ’tis a consummation
Devoutly to be wish’d. To die, to sleep;
To sleep, perchance to dream—ay, there’s the rub:
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause—there’s the respect
That makes calamity of so long life.“

Sarah Chalfie as Ophelia. Photo by Phillip Hamer.

Consumed with guilt, rage and confusion, Hamlet is acting out, and not in a good way, alarming those closest to him. His mother sends for his Wittenberg University chums Rosencrantz (Mitch Henry-Eagles) and Guildenstern (CB Brown), hoping they can shed light on the situation.

His gal pal Ophelia (Sarah Chalfie) is scared, her brother Laertes (Grayson DeJesus) startled, their caring father Polonius – Claudius’ counselor – upset, and his best friend Horatio (Reginald Pierre) worried. It doesn’t help that he keeps seeing disturbing visions of his dad’s ghost.

Meanwhile, cunning Claudius is forcing power plays and mistrust to protect his secrets and lies. “That one may smile and smile and be a villain,” and Fitzgerald suits him well. Thus, Hamlet’s rebellion will bring more sadness, madness and losses.

Hamlet, Gertrude and Claudius. Photo by Phillip Hamer.

Most of all, the regal Gertrude, dressed in elegant ballgowns and cocktail attire, symbolizes wealth and aristocracy. Ikeda, who appeared as Juliet here in the fest’s inaugural production, contrasts with the young characters representing the need to explore and discover, find their purpose while they question moral decay.  

Hamlet’s disgust at his mom’s choices couldn’t be clearer — “The lady protests too much, methinks.” He can’t get past what he perceives as her betrayal.

You know exactly where Hamlet is coming from when he tells Horatio: “There are more things in heaven and earth, Horatio, than are dreamt of in our philosophy.” As Hamlet’s best friend, Reginald Pierre is a harmonious Horatio, his eloquence shines through, as he does in every Shakespeare role.

Pierre is masterful in delivering a heart-tugging “Goodnight, sweet prince, and flights of angels sing thee to thy rest!”

Gertrude, Hamlet. Photo by Phillip Hamer.

Mark Nelson excels as busybody Polonius, who is doomed by his meddling. When he advises his son and daughter “To thine own self be true,” the audience erupted in applause.  He also delivers the often misquoted “Though this be madness, yet there is method in’t.”

No matter how much he tries, he can’t save his emotionally bruised daughter, who can’t cope with losing her parent. Sarah Chalfie is outstanding in her robust portrayal of Ophelia, one of the best I’ve seen.

She’s no fragile flower, not the usual whiny or showing too ethereal qualities, and instead gives a fully formed rendering of a psychologically battered young woman raised to be sweet and pretty, but there’s an independence and intelligence that she brings out too.

In real life, Chalfie is responsible for helping to save the day when original cast member Vaughn Pole was injured and unfortunately needed to be replaced as Laertes. Chalfie knew actor Grayson DeJesus had played the part twice before, and he came to the rescue. Considering that he had only four hours’ rehearsal before opening night May 30 and was so vibrant on stage was a remarkable feat. His dexterity and fervor were exceptional.

Hamlet, Ophelia. Photo by Phillip Hamer.

The supporting roles are fluidly handled by Max Fiorello, Daisy Held, Charlie Mathis and Ryan Omar Stack. Henry-Eagles and Brown also capably play another role other than their sharp preppies Rosencrantz and Guildenstern, and Larry Paulsen is also effective as the gravedigger, in addition to the fatherly spirit.

The presentation’s nifty flourishes in no way overshadow the passionate performances, for this tight ensemble rises to the occasion – it’s lucid, riveting and rhythmic in a way that the audience leans into the gripping action and the heartfelt agony.

Another outstanding addition to this year’s set is an eye-popping moving, motorized room that rolls up and down the stage on tracks, especially in the pivotal Polonius eavesdropping scene.

Perhaps music personifies this tale more than any other staged in recent years – although fine local musicians have added such gorgeous sounds in the previous comedies ‘As You Like It,” “Twelfth Night,” “Much Ado About Nothing” and “A Midsummer Night’s Dream.”

Music director/Composer Brandon Wolcott’s jazzy score played by East St. Louis trumpeter Brady Lewis is an integral part of the storytelling,. and recorded music sets the cinematic tone and heightens the ominous tension that builds in intensity.

Rosencrantz and Guildenstern, talk to Hamlet, center. Photo by Phillip Hamer.

Special mentions to choreographer Sam Gaitsch for her 50s ultra-cool dance moves, Zev Steinrock for his taut fight choreography, Laura Skroska as the key props master, stage manager Sarah Luedloff and assistant stage manager Britteny Henry for their brisk work, producer Colin O’Brien and assistant director Heather Anderson for assuring that all the elements come together in fine fashion.

This nontraditional dark adaptation is refreshing because its artistic accomplishments feel organic, and its collaborative creatives and cast dazzle without artifice for a truly enthralling evening. The play’s the thing! A haunting and hypnotic “Hamlet” starts the summer off with an exclamation point, and more is in store from St Louis Shakespeare Festival — with “Romeo and Zooliet,” the touring company’s “A Midsummer Night’s Dream” in 34 parks and an original St. Louis Shake in the Streets in East St. Louis.

St. Louis Shakespeare Festival presents “Hamlet” May 28 through June 22, nightly at 8 p.m. except Mondays in Forest Park’s Shakespeare Glen (near Art Museum). Admission is free but special seating is available for a fee. For more information, visit www.stlshakes.org

Laertes and Hamlet fence. Photo by Phillip Hamer.

Re-Imagined ‘Sherwood’ Features Intrepid Ensemble, Dandy Action

Re-Imagined ‘Sherwood’ Features Intrepid Ensemble, Dandy Action

By Lynn Venhaus

Mix the Marx Brothers, Monty Python and Mel Brooks in a blender, and you have the fizzy potion that is fueling a crackerjack ensemble in the rollicking “Sherwood: The Adventures of Robin Hood” on the Repertory Theatre of St. Louis’s mainstage.

Through merry mischief and dazzling derring-do, this jaunty, physically fit ensemble works very hard to entertain and summon their mighty skills to keep their pace zippy and their swashbuckling crowd-pleasing.

Staged with zesty agility by director Kate Bergstrom, some of the feats are astounding. How do they manage arrows hitting their targets without flying over the heads of the audience? It’s an incredible illusion involving sleight-of-hand, I imagine. (And they’re not divulging this magic trick).

The fight choreographers Rachel Lee Flesher and Zachariah Payne did extraordinary work to make it authentic – and whoever worked on archery, too.

With a nifty Sherwood Forest set framed as a folk tale, we’re immersed back to 1194 Nottingham, England. Scenic designers Lindsay Mummert and Courtney O’Neill have created a majestic oak tree as the focal point, and it serves the action well.

The set. Photo by Jon Gitchoff.

Part history, part myth, the legend of Robin Hood, fighting for the common man, has endured for more than 700 years and been fictionalized in countless ways (even the Rat Pack, aka 1964’s “Robin and the Seven Hoods” starring Frank Sinatra as “Robbo,” set gangster-style in 1930s Chicago!).

With so many movie and TV adaptations, nearly everyone has seen a version – Douglas Fairbanks’ silent movie in 1922, Errol Flynn’s finest hour in 1938’s “The Adventures of Robin Hood,” Disney’s animated feature in 1971, miscast Kevin Costner’s “Robin Hood: Prince of Thieves” in 1991, Mel Brooks’ spoof “Robin Hood: Men in Tights” in 1993, and then millennial efforts from Ridley Scott in 2010 with Russell Crowe and Cate Blanchett, and another same-titled one “Robin Hood” in 2018, albeit younger performers, starring Taron Egerton, among them.

So, you likely know the story – maybe not beyond “stealing from the rich and giving it to the poor,” but playwright Ken Ludwig incorporates the 12th century history – in fact, the first act gets bogged down with the backstory.

However, the second act rebounds with vigorous swordplay as our heroes endure the slings and arrows of an outrageous ruler (greedy Prince John) and his henchman (including sycophants Sheriff of Nottingham and Sir Guy of Gisbourne). Like their rogue counterparts in France as embodied by “The Three Musketeers,” the rascals are “all for one, one for all.”

Ludwig, known for such farces as “Lend Me a Tenor,” “Moon in Buffalo,” and “Baskerville: A Sherlock Holmes Mystery,” produced this play in 2017. He has infused some contemporary behavior so as not to have the action mired in the past (and off-putting to today’s sensibilities).

Jayne McLendon, DeAnté Bryant, Michael James Reed, Oriana Lada. Photo by Jon Gitchoff.

As Robin grows up from playboy to a man with a conscience, he and his band of outlaws are committed to social justice, their eyes opened by seeing the monarch’s cruelty and corruption through several characters.

Delivering both the swagger and the rebel with a cause, Louis Reyes McWilliams reveals himself to be a noble lad after his aimless youth. Although he’s dashing in his romantic endeavors as well, he’s clearly met his match in his spunky childhood pal Maid Marian, for she is no push-over.

What’s refreshingly modern is that Marian is not a damsel in distress. Rather, Jayne McLendon plays her as just as fleet-footed and even more of a sharp-shooter than her male peers. It’s a delightful rendering, and she has terrific chemistry with McWilliams.

Costume Designer Dottie Marshall Englis, splendid at creating period pieces that offer ease of movement, has superbly outfitted this lively bunch so they can run, jump and fight without pesky restrictions.

The characters’ camaraderie is this play’s strong suit, and their stamina is impressive – they had to be athletic and graceful throughout to execute their game plans.

Louise Reyes McWilliams as Robin Hood and CB Brown as Little John. Photo by Jon Gitchoff.

Ever-reliable Michael James Reed, always first-rate and masterful as Friar Tuck, ties everything together as a trustworthy confidante, acting as the narrator and breaking the fourth wall to alert the audience to what’s happening.

One of the show’s highlights is the audience involvement, as they’re encouraged to cheer and boo, some getting called into action. Bergstrom focused on the joy, the sense of fun, this story contains.

Other performance standouts include Fabiola Cabrera-Davila as Deorwynn, a feisty peasant avenging her farmer father’s unfortunate death due to the acting king’s tyranny. Her courage inspires others to be dedicated to their mission, especially Robin and a smitten Little John, robustly embodied by CB Brown. (They look imposing but are really a teddy bear).

Oriana Lada is a noteworthy supporting player, nimbly handling several roles, including as a paramour of Robin’s. Credited as Alize, she’s part of an ensemble who is adept at multiple parts, like monks, soldiers, foresters, archers and executioners.

The dastardly villains include David Weynand, amusing as the weaselly Sheriff of Nottingham; hardy Matt Lytle as the smug Sir Guy of Gisbourne; and iron-man Eric Dean White as the capricious, conniving Prince John. Usurping his brother Richard the Lionheart’s throne while he is away fighting in The Crusades, he is hoodwinking the masses. White oozes with unctuousness in this juicy role.

Matt Lytle and David Weynand as Sir Guy and Sheriff. Photo by Jon Gitchoff.

(For a reference, “The Lion in Winter” is a good history lesson about John’s parents, Henry II and Eleanor of Aquitaine, and his relationship with his brothers.)

DeAnte Bryant, spry as the Troubadour, also smoothly played other roles and was the assistant fight director.

The Troubadour’s music and score were composed/arranged by St. Louisan Colin McLaughlin, who also was the music director. He went medieval on 21st century tunes, at times, reimagining pop hits by using old-fashioned instruments like lutes, harpsichords and recorders. The choice of Outkast’s Grammy-winning 2003 song “Hey Ya!” for curtain call was inspired.

Amanda Werre’s expert sound design and Christine Watanabe’s sterling lighting design add to the quality of The Rep show, as their efforts always do.

With its improvisations, goofy additions (yay, Monty Python’s “Spamalot” reference), and vibrant casting, this is not your 14th century ballad come to life. It’s a fresh take – script could have been sharper, though – on a classic story.

While it has commendable heart and humor, “Sherwood” also has a message that always stands the test of time – respect the dignity of the common man, and band together to resist tyranny, especially without fear of “the others” – no time for we vs. them when society is at a moral crisis. Enjoying this popular adventure and energetic effort by all involved is the cherry on top.

Photo by Jon Gitchoff.

The Repertory Theatre of St. Louis presents “Sherwood: The Adventures of Robin Hood” March 21 through April 13. The play is appropriate for ages 8 and up, with the use of mild innuendo throughout. The production may use strobe lighting, fog, and haze. It runs 2 hours and 5 minutes, including a 15-minute intermission. Performances are on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.

On April 13 at 2 p.m., a special Sherwood Family Day will take place. Post-show festivities include costumed performers from the St. Louis Renaissance Festival and an interactive archery experience.

Jayne McLendon and Oriana Lada perform medieval music with aplomb. Photo by Jon Gitchoff.