MTC HAMLET REVIEW 2011

Hamlet

By William Shakespeare

Melbourne Theatre Company

July 19 to September 3, 2011

The MTC Theatre, Sumner

Director: Simon Phillips

Simon Phillips has created a glittering production of Hamlet with a strong cast lead by Ewen Leslie, who is to begin filming his lead role in a film adaptation of Christos Tsiolkas’ Dead Europe. Hamlet is my favourite Shakespeare play and Tsiolkas one of my favourite writers, so I was keen to see how Leslie was handling these works. I was also disappointed to have missed Phillips’ production of Richard III at the MTC last year, which also starred Leslie, so I wasn’t taking any chances this year.

I was dazzled by this production, especially by the towering glass set, which revolves from scene to scene. We see the actors running, hiding, spying on each other through the clear glass walls, giving the play intrigue and depth. Phillips’ vision is cinematic, and the transitions from scene to scene, and the pace and use of music seem heavily influenced by film and TV. As soon as one scene finishes, the stage spins and the actors in that new scene start their dialogue before the stage comes to a stop. Not all the transitions work as perfectly as they could. The use of loud, modern music in some scene changes is unnecessary. Some have criticised the use of ‘mood’ music that kicked in each time there was a dramatic scene. But that’s a cinematic touch, and I had no problem with that.

Putting aside the amazing set, Phillips has a terrific cast to work with. There was Ewen Leslie, who is predicted to become a big film star; Pamela Rabe as Gertrude;  Garry McDonald as Polonius; Robert Menzies as the Ghost and Player King; and John Adam as Claudius. The weight of the play, and so many of its lines and scenes, rests on Leslie’s shoulders and he gives the role his all. He starts the play squirming and in physical pain watching his mum, Gertrude, married to his uncle, Claudius, so soon after his father’s death. As soon as he’s alone, Leslie is on the stage floor, doubled over and full of loathing for what his mother has done. I’ve heard Leslie wanted to be decisive in his role as Hamlet, and he jumps straight into the character’s anguish. He starts the play twisted and sickened, and becomes blistering from there on. I’m not a fan of actors who are constantly shouting in plays, and thankfully Leslie gets the chance for quieter, more intimate scenes. His ‘to be, or not to be’ speech, spoken while he is lying on his bed, is well-judged, as is his ‘Yorick’ speech by the graveside (my personal favourite scene from Leslie in this play). The audience did not make a sound in these two scenes, which reflects the respect with which those famous soliloquys are held. It’s also a great testament to Leslie’s stage presence, and skill. No one wants to miss a word coming out of his mouth. My only criticism is that Leslie was too angry too often. Leslie has incredible range and his rage is convincing and frightening. I was almost in tears watching him destroy the delicate, pretty Ophelia. But I wanted to see more of Hamlet's dark wit, his sensitivity, and intelligence. There were glimpses of this, such as when Leslie plants a kiss on Claudius’ cheek, and taunts Rosencrantz and Guildenstern, and Polonius. I can see why Leslie would be electrifying as a villain, as he was said to be with Richard III.  

Robert Menzies is magnetic as the ghost of Hamlet’s father. He almost stole the show for me, with his tatty woollen jumper, pale face, and booming voice. The scene where the ghost appears to Hamlet, steam hissing from his jumper as if he’s been tossed from hell, is a theatrical moment to be savoured. Pamela Rabe is always excellent, but she is under-used in this play. It’s the first time I’ve realised that Gertrude is an under-written role. Or perhaps Phillips just didn’t give Rabe a chance to kick off her stilettos, and put down her glass of whisky, and let Gertrude grow.

Eryn Jean Norvill is a beautiful, ethereal Ophelia in a very impressive MTC debut. Her stately voice gives Ophelia grace and dignity, even when she goes mad, as all Ophelia’s do. Her early scene with brother Laertes (Tim Ross) is intimate to the point of being icky, though. Is it necessary for brother and sister to be rolling all over each other on her bed? Norvill is a good match for Leslie in their most difficult scene, when Hamlet says “get thee to a nunnery”. It is much harder, I think, to be in Norvill’s shoes in this scene, and she is brilliant.

Yes, there are faults with this Hamlet, but overall it’s cool, smart, thrilling theatre, and not to be missed.