At a first glance, Bausor's set design is nothing more than an eclectic mix of Shakespeare's exploitation of the tragic genre: saturated by scattered skulls and cold lighting; an ethereal 1960s aesthetic, located somewhere between a working-men's club and a public school gym. However, it is perhaps through David Farr's infatuation with fencing equipment that the set becomes a microcosm or, indeed, a metaphor for the inner-workings of Hamlet's mind. Is the fencing motif simply a route into introducing swords into a modern society, or does it reflect Hamlet's paradoxical powerlessness? Presented with "the motive and cue for passion", Hamlet is not limited by his overriding fear; thus, perhaps the use of the foil reinforces Hamlet's untimely prevarication.
Similarly, the emptiness of the set, mingled with Bausor's meticulous attention to detail, may become a metaphor for Hamlet's inner psyche - a method of staging not unknown in the RSC. Despite a compelling stage presence, Slinger's Hamlet is physically and psychologically confined in his environment. The single wedding balloon, wound up in the metal rafters, leaves a bitter taste in the audience's mouths.
Interestingly, the set is free of any resplendent idiosyncrasies. Whether this reveals Hamlet's detachment from his family as a notion of royalty, or it is simply perceived as undesirably cliché, the audience is left unaware. Thus, Bausor creates a judiciously limiting space; one from which Hamlet can not, and does not, escape: that which is simultaneously claustrophobic and isolating.
I went into this production with an incredibly defined image of who, and what, Hamlet was. Slinger played exactly my Hamlet. He is demonstrative and mesmerising as the grief-stricken Price; a premeditating, impetuous son; and an audacious and abusive lover. Slinger embraces the multi-faceted nature of Shakespeare's Hamlet, and utilizes this opportunity, arguably, to the point of excess. Slinger's portrayal is notable in its brutality towards Ophelia (Pippa Nixon): forcing her to undress, and smearing mud in her face. Whilst criticized by many, I was enamored by this interpretation since it emerged from a broader psychological exploration of Hamlet; these crazed junctures transformed Slinger's Hamlet into a wholly rounded and plausible character - a victim not only of jealousy, greed and lechery, but also of ineludible mental instability.
Jonathan Slinger is surrounded by a good cast - though perhaps only a good one. Greg Hicks impresses as a convincing Claudius: impeccable stage presence, and the consistent nature of his character seems to root an, otherwise, capricious production. Claudius and the Ghost are doubled: Hicks is a brilliant ghost - compelling without being imposing; stirring an extraordinary moral, spiritual and physical presence. This doubling of characters further emphasises the complexity of the play; Hicks' Ghost reveals the merging of healthy minds with unhealthy bodies and, equally, Claudius' healthy body and corrupted mind.
Nixon's portrayal of Ophelia is contemporary and innovative; she is concurrently intensely vulnerable and deceptively self-determining: all of which synthesizes into a confusing mix of madness, grief and deficiency. She is characterised visually by flowers, emphasising her fragility relative to the assurance demonstrated by contrasting military props. Nixon and Slinger establish a memorable stage exchange; their individual susceptibility complementing and exaggerating each other's, and creating a complex and tormenting relationship.
The dialogue between Hamlet and Gertrude (Charlotte Cornwell) however, was not nearly as authoritative. The mother-son relationship was somewhat understated, if not lacking. Whether this was a case of Slinger's character being too overbearing, stifling the potential for response; inadequacy and superficiality in Cornwell's Gertrude; or simply poor direction, I am unsure.
Slinger's Hamlet was exactly what I'd hoped for; Farr's direction wasn't. That doesn't mean to say that I wasn't impressed, I was, but I couldn't have anticipated the originality with which he approached this production. He does justice to the intricacy and diversity of Shakespeare's 'Hamlet', mastering a provocative set, an accomplished cast, and successfully fostering a thrilling interpretation of the play.
No comments
Post a Comment