by J.S. Alleva
Imagine a world where the most well-intended advice from your most beloved relatives leads to trauma, treachery, tragedy, and more. Imagine a world where ghostly howls in the night lead to terrible truths. Imagine no more; the place exists… in the dark passageways of Elsinore Castle, in PCS Theater’s Hamlet by William Shakespeare, running now through November 9th.
Reimagined with Gothic flair by Director Matthew Carter, this production of Hamlet explores the dark tendencies and sweet frailties of the human mind and heart in a way that infuses new blood into Shakespeare’s age-old words, activating dormant strands of his literary DNA and bringing something unexpectedly real and raw into the space.
The play begins at midnight in Denmark’s Castle Elsinore. Sentries are startled by an apparition of their recently deceased King. Hamlet, Elsinore’s Prince, returns from study abroad to discover that his father the King is dead, his mother the Queen has quickly remarried, and Hamlet’s uncle has been crowned the new King. To add further insult, the ghost of Hamlet’s father is now haunting the castle. This news does not sit well with Hamlet. When he hears the ghost tell his murderous tale, a tangled plot for revenge ensues, dotted with bitter humor, ill-fated love, friendships false and true, and a bloody climax.
PCS Theater’s stellar ensemble cast is directed by Matthew Carter and Assistant Director Ali Walker, with a swift and seamless crew led by Stage Manager Ellen Taylor and Assistant Stage Manager Ashley Senss Joyce.
Scott Berkowitz as the eponymous Prince Hamlet.
The title role of Prince Hamlet is played brilliantly by Scott Berkowitz whose warmly magnetic presence, genuine voice, earnest yearning for truth and meaning, and mercurial dance with madness brings to life one of the best Hamlets this reviewer has witnessed. Berkowitz’ portrayal shines like a rough diamond receiving cuts repeatedly until it is honed, faceted to its greatest luminosity. Like the rest of this production, his performance breathes an urgency and vitality into what experts consider the most performed play of all time. That is no small feat.
PCS Theater’s “Hamlet” is engaging and thought-provoking.
Karen R. Johnston is radiant as Hamlet’s mother, Queen Gertrude. She brings a sense of warmth, loveliness, and subtlety to the complex role: grieving Queen, happy newlywed, mother to a troubled young man, desirous woman prone to less-than-perfect decisions. Johnston does all of this with professionalism, skill, and elegance.
Hamlet’s dearest friend Horatio is played powerfully and authentically by Courtney Bundens. The true bond of friendship and brotherly love between Horatio and Hamlet feels genuine and companionable. Bundens’ voicing of Shakespeare’s text brings lightness, nuance, humor, and a surprisingly fresh perspective on several scenes.
John B. Hedges gives a robust and gregarious performance as Claudius’ advisor Polonius, filling the stage with boundless energy, and infusing refreshing wit (and character voices) into many of the play’s most famous lines. His “Brevity is the soul of wit” scene with the King and Queen is a joy.
The deceitfully charming “Frick and Frack” duo of Rosencrantz and Guildenstern, played by Vinnie Emilianowicz and Autumn Scouten, please the crowd with their perfectly synchronized ‘fan-flicks’ as they attempt subterfuge, feeding information about Hamlet back to the new King. Scouten’s comedic flare shines brightly, balanced by Emilianowicz’ downplayed obsequious manner.
Kayla Bowe portrays Polonius’ daughter Ophelia, Hamlet’s beloved, with gentleness and charm, and gives a believable transformative journey through innocent love, confusion, despair, grief, and madness. Aaron Wexler is appropriately distasteful as Hamlet’s conniving uncle, the treacherous King Claudius, and Dan Jankauskas is fierce and regal as Ophelia’s brother Laertes. Jim Fryer emotes agonizingly well as the Ghost of the late King.
Rounding out this fantastic ensemble, in multiple roles, are a charming Miriam Walton (Francesca, Player King, Osric), a comedic Hannah Jackson (Barnardo, Player Queen, 1st Gravedigger), an endearing Arlowe Willingham (Prologue, Reynaldo), and a multi-faceted Ryan Mattox (Marcellus, The Poisoner, 2nd Gravedigger).
While it could be said that the bouncing backside of the 1st Gravedigger lingers a bit longer than needed, Jackson’s delightful energy blends well with Berkowitz’ and Bundens’ warm jests about dark, cold things and brings fresh energy to the well-known “Alas, poor Yorick” scene.
The setting of Elsinore is conjured well by Set Designer Richard Farella, Scenic Artist Sue Abla, and Master Carpenter Ed Robins, with painted stone walls, gothic-arched windows and entryways, and a central three-tiered platform, painted white with black dripping edges, which mirrors both the gruesome wedding cake of the newly-wed royals as well as the juxtaposition of good and evil, true and false, light and dark that courses through the veins of the play. Two large Gothic hammer beams with hammer braces rise and fall to effectively shift scenes within the castle. White, veil-like curtains hang in the pointed archways, evoking the thin veneer between reality and illusion.
Costume Design by Betsy Berwick, Barb Scanlon, Dot Kowal, Claire Ennis, and Reba Ferdman brings Hamlet’s brooding Victorian-Gothic world to life with an array of richly appointed silk damask and brocade waistcoats and tailcoats in every shade of black and white: gray, charcoal, silver. The Queen’s gorgeous gowns flow in deep violets and red-wine hues. Her sparkling crown and jewelry bring something lovely and unnaturally bright into the castle’s gloomy halls. Her hair is left loose and uncovered, a nod perhaps to her unrestrained morals in marrying so swiftly after her husband’s death. Ophelia’s creamy Victorian muslin gown befits her innocence and simple beauty.
The subtle, effective lighting and colorful transitions by Lighting Designer Heather Timberman and Board Operator Andrew SanFilippo add moments of luscious jewel-tones (rich red, warm gold, and royal blue), like light through stained glass, perfect for Elsinore’s shadowy churchlike scenery.
Sound Design by Sabrina Boyd-Surka and Matthew Boyd-Surka is solid, subtle, and especially eerie during the tortured wails of old King Hamlet’s ghost. Props by Designer Denise Kolodziej and Runners Suzette Krausen and Mary Kate Langan work very well, with period weapons, goblets, and most dramatically, a bloody sword… (a surprise, and very well done).
Make-Up by Kylah Alexander is understated and tasteful for the whole cast, and ghastly when it needs to be (the Ghost, the grieving Ophelia, the injured Hamlet).
In closing, if you’ve never seen a Shakespeare play, you won’t find a more engaging and thought-provoking introduction to the Bard than this production of Hamlet. If you’re already familiar with the play, then you will be delighted by the crisp, new energy being breathed into every word. This is your chance to see arguably the greatest lines of all time, brilliantly delivered. The Director’s Notes in the program state: “Tragedy can only be tragic when there’s something to lose.” Missing this production would be a loss indeed.
Remaining show dates are:
- Friday, November 1st – 7:30 PM
- Saturday, November 2nd – 2:00 PM
- Saturday, November 2nd – 7:30 PM
- Sunday, November 3rd – 2:00 PM (Post Show Talk Back with Staff and Actors)
- Thursday, November 7th – 2:00 PM
- Friday, November 8th – 7:30 PM
- Saturday, November 9th – 7:30 PM
The play has five acts, with a 15-minute intermission midway. Concessions are available in the lobby before the show and during intermission, and purchases are very kindly allowed into the theatre.
Warning: there are some startling, loud noises and mild strobing effects during the ghost scenes.
This theater is wheelchair-accessible, and hearing devices are available at the box office.
For more info on this run of Hamlet, contact:
PCS Theater
The Players Club of Swarthmore
614 Fairview Rd.
Swarthmore, PA 19081
Website: pcstheater.org
@pcs_theater