Annapolis Shakespeare Company Vitalizes the Bard’s Hamlet
See it, and Shakespeare lives
Shakespeare’s plays are still being performed 400 years after they were created because they were brilliantly written but also because their themes are timeless.
Not every theater company that takes on Shakespeare can live up to the Bard’s talent and intent, moving beyond the page to vitalize his characters, prose and situations. But when Shakespeare is done well, his stories jump off the page and into our consciousness, demanding our attention and forcing us not just to understand but also to feel what his characters are feeling, and why.
So it is with Annapolis Shakespeare Company’s Hamlet. Beautifully realized, stylistically and brilliantly transposed into the current day, this Hamlet is a tour de force, a masterwork for the company. Director and set and sound designer Sally Boyett, the company’s producing artistic director, has earned a reputation for her economical yet transformative use of the Bowie Playhouse stage. This production furthers that reputation. From the huge gilded frames that hang from a dark sky to the sacrifice of a few house seats in favor of a platform that thrusts the actors almost halfway into the audience, this is an impressively aesthetic production.
Boyett’s haunting and ethereal sound and Paul Collins’ often eerie lighting accompany our journey through Hamlet’s madness and his thirst for revenge. Maggie Cason’s costumes, mostly muted grays but with a touch of blood-red seemingly everywhere, remind us that madness, revenge and betrayal are not only to be found in Shakespeare’s time.
Of course, none of this matters if the acting and direction do not achieve the same standards, and here both are surpassing. Every one of our community theater actors and directors would benefit from attending at least one of Annapolis Shakespeare’s productions, especially this one, because the dedication and commitment to character, to dialect, to pacing and to clarity are unsurpassed.
Manu Kumasi’s Hamlet is stellar, the fire and humor coming not just from the staccato delivery of his lines but blasting from his every pore. His physicality seems to envelop the theater, especially when he ascends to the end of that aforementioned platform and with sheer passion imposes his world onto ours, his fiery eyes just feet away from ours, boring directly into us and gripping us with his madness.
Likewise, Audrey Bertaux brings us an Ophelia whose own tragic fall into madness could have been over the top in less capable hands. Instead, we are drawn into the character’s decline and feel pity for the way Hamlet projects his anger toward his mother onto her.
Nafeesa Monroe as Gertrude and Paul Edward Hope as Claudius lead the rest of the company, several of whom very effectively play multiple roles. From Rosencrantz and Guildenstern to Horatio to Polonius and all the rest you read about in school, this is Shakespeare at his best, flying off the pages and brought to life in a production whose superlative whole is far greater than the sum of its very excellent parts.