An “unplayable” version of Hamlet made possible.
Say what you will about Hamlet, but a full-length, four-hour production can be a lot to sit through. Thankfully, with Hamlet (Variorum), you won’t have to. Performed by the Outsiders Inn at Explorations Academy in Bellingham, Washington, this adaptation of Shakespeare’s famed play is told through the structure of the First Quarto of 1603 (oft-called the “Bad Quarto) with the words of the First Folio of 1623, a more widely accepted version of Hamlet. According to director Greg Berry, you get a two-hour Hamlet “but you still get all the fireworks.” And fireworks there were. Though a low-budget, bare-bones community production, Hamlet (Variorum) played this moody tragedy well.
Adapted by Toby Malone in 2012 and previously performed in the UK and Canada, this is the US premiere of Hamlet (Variorum). The plot follows closely to that of the more familiar Hamlet, with several shortcuts that compact the commotion but leave room for famed monologues and dramatic confrontations. Several of the characters’ names are changed or spelled differently, such as Corambis (Polonius) and Gertred (Gertrude).
When the play started, I had my doubts – I struggled to glean the visceral fear expected after seeing the ghost of a dead king. I was concerned our Hamlet would follow this subdued pattern, yet I needn’t have worried. Hamlet (Ivan Sandomire) was, as he should be, the gleaming star of the show. From melancholic calm to spitting rage to childish mockery, Sandomire encapsulated the quick-witted, unhinged prince. I couldn’t help but grin in delight as his manic behavior confounded the others and, just a little, scared me.
It was evident that Corambis (Chris Jensen) also provided compelling performances.had years of age, wisdom, and acting experience under his belt. Corambis, a forceful pontificator who serves as the bumbling comic relief, eased the dark tension within the show and provided ferocity when minor characters lacked fervor. However, I must give credit to the cast for their handling of Shakespeare’s beautiful language. For the most part, they did justice to the poetry’s melodious rhythm.
The intimacy of the small, somber basement underneath Explorations Academy meant the actors walked feet away from where we sat. Besides the twenty-five folding chairs for the audience that surrounded the “stage,” the area was bare. As I am a firm believer in shows that prioritize minimalism over over-stuffed sets, the lack of details meant that, for better or for worse, the acting was the sole focus.
There is one plot difference that proved confusing. As Hamlet and the sentries depart after swearing to never speak of the Ghost, Horatio witnesses the Ghost taking off his fake beard, and they smile as if in cahoots together. This part is specific to the First Quarto, meant to imply that Horatio has more power in this show than we think. Did he arrange someone to pose as Hamlet’s father? Is he really Hamlet’s loyal, trusty friend? Compelling, but puzzling. If I didn’t know the textual difference, the symbolism would have been lost on me.
The final moment of the show also did not lend itself well. As Hamlet lays dead on the floor and Horatio utters the final lines, the Gravediggers approach and shrug their shoulder as if to say, “well, that’s life,” followed by a blackout while the beginning of “Welcome to the Jungle” plays. Frankly, it killed the mood. A serious moment turned silly, and call me old-fashioned, but I don’t think an audience should be chuckling at the end of Hamlet. Though it was meant to provide brevity from the end’s heaviness, it did not suit the tone.
All of this to say: if you like Shakespeare, you should come see this play. For the most part, I enjoyed myself, and watching a well-acted Hamlet is always time well-spent.
Hamlet (Variorum) adapted by Toby Malone. Outsiders Inn. at Explorations Academy 1701 Ellis St. Bellingham, WA. Tu, W, Th, F. 7 pm April 18 to May 5. Saturday Matinées April 22, April 29, May 6, 1 pm.
Seattle Performance. Theatre Puget Sound, Theatre 4, Seattle Armory (Center House), Seattle Center. 305 Harrison, Seattle, WA 98109. Sunday, May 7th, 3pm. (One performance only.)