It’s the top of the first act. As the lights come down and the guards enter, those familiar with Shakespeare’s famous piece know what is about to happen. The guards are terrified that the ghost of the late king will return to haunt on this night. They are joined by Horatio (Reginald Hemphill), who may not believe them, but is ready to test the validity of their statements. The scene is funny, but there is just enough tension to leave the audience wondering who might be right. As the darkness thickens and the silence intensifies, you might even feel the tension heightening around you as you anxiously sit in your seat.
Slowly, haze starts to trickle out from backstage. Aside from the actors, the space is empty. There is no furniture—nothing to distract from the actors and the panic of this haunting moment. As the fog consumes the theater, Horatio and the two guards jump closer together—weapons out. The ghost (Robert Koon) enters—silent, and dressed in full white robes and a crown. He simply walks the perimeter of the platform as the three men do everything they can to hide in the middle.
Fans of Shakespeare—and I am a fan—often say that his plays require little more than the actors and the text on the page to convey the story. Scenic designer Rose Johnson certainly leans into that mindset with the stark, simple set. Simply a black and red painted platform in the middle of the space, creating a theater-in-the-round setting with the ability to enter from every corner. The intimate space of the Edge Theatre Off Broadway thrusts the audience into the immediacy of the action. The result? A scene like this opening moment—one full of terror. Like Horatio and the guards, we too are forced to confront this ghost in the darkness. With nowhere else to focus, we can simply absorb the text and wonder alongside the characters: Why does the ghost of the late king continue to haunt the castle, and what are they to do about it?
Directed by Wyatt Kent, Shakespeare’s tragedy follows Hamlet (Ashley Fox), the young Prince of Denmark. As he navigates the grief of his father’s death, he is forced to watch his mother, Queen Gertrude (Kelly Dupree Lavender) marry his uncle, King Claudius (Robert Koon). Upon learning from his father’s ghost that his uncle murdered the late king, Hamlet sets out on a journey of revenge. As with all of Shakespeare’s tragedies, secrets rise to the surface, events unravel, and Hamlet is left to deal with the chaos that has been thrust upon him.
Kent’s choice to allow the text to do its work invites the talent of this ensemble to shine. Harrison Lampert and Mary Townsend Cahoon as Rosencrantz and Guildenstern are hilarious, and bring much-needed light to the darkness of this tragedy. Their physical comedy acts as a fun contrast to Fox’s dark and broody Hamlet, and elicited outbursts of laughter from this particular audience.
Polonius (Zach Bloomfield), Laertes (Ian Maryfield), and Ophelia (Julia Rowley) only share one scene together as a family unit, but the work of this trio certainly stands out. Bloomfield’s wordy, bumbling Polonius is endearing—particularly when paired with the genuine love that Ophelia and Laertes have for him. As Polonius lectures Laertes before his trip to France, Maryfield and Rowley share a heartwarming moment as siblings—clearly poking fun at their father, mouthing the words of this repetitive speech alongside him, and sharing humorous glances between each other and the audience. If you as an audience member have a sibling, you too might find that this relationship invites a certain relatability to the story. This family certainly meets their share of tragedies as the story unfolds, and the loving relationships built at the beginning help the emotional heaviness hit even harder.
If you are a fan of William Shakespeare, then Red Theater’s production is one for you. Intimate and text-driven, the production honors the heart of the story as we witness Hamlet’s heartbreaking tale.
Hamlet runs through May 19 at the Edge off Broadway, 1133 W Catalpa Avenue. Tickets run from $10 to$25 for Thursday – Sunday performances. Running time is 3 hours with an intermission.
For more information on this and other plays, see theatreinchicago.com.
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