review
HAMLET
by Lynn A. Harmon for "The Sitting Duck"

Every time I’m exposed to Hamlet, I walk away with a sublime satisfaction that lingers for weeks afterward. That such a tragic story is so pleasantly rewarding may seem to be an odd paradox, but the telling of the tale is so exquisite and the use of the language so glorious, Hamlet ignites that magic part of me I call "the sweet spot of my soul."

But producing Hamlet these days is a project rife with landmines. Scenes of Hamlet are so widely known and have provided today's vernacular with so many familiar phrases that even a fairly decent performance can prove profoundly disappointing. While an interpretation might successfully navigate "Something is rotten in the state of Denmark" and "The lady doth protest too much…" to taste, it’s almost guaranteed to grate against one's ideal "To be or not to be…" Through the simple variance of a single iamb, such an utterance will surely be criticized as too traditional or over emoted or as an actor's misguided and egocentric stab at creativity.

How extraordinary, then, that Andrew Heffernan, who played Hamlet for Harlequin Productions last month, spoke this most famous of all soliloquies--perhaps the most quoted oration of all time --as if it had never been said before and with such unaffected, logical motivation and graceful artistry, he left no desire to parse or compare it. It was one of the most thrilling moments in acting I’ve ever experienced.

I never have to see Hamlet again. The Harlequin production was so satisfying and artistically delightful, there's no room in me to thirst for more.

Publicity had warned of a new spin on the old play. Director Scot Whitney and Mr Heffernan had experienced twin revelations that, rather than feigning lunacy to launch his revenge, Hamlet was sincerely insane! Now the title "melancholy Dane" would only apply to the observer Horatio.
It would have been so easy to hit us over the head with this brave new concept, which would surely have stripped Shakespeare of his elegance and turned Hamlet into an unappealing clown. Instead, Mr Whitney and Mr Heffernan masterfully shifted the traditional Elsinorean universe just a touch. This divine and confident subtlety was utterly glorious to absorb, and one now must consider that perhaps they’d tuned into the Bard's original intent. At the same time, the Harlequin production of Hamlet was so magnificent, what Shakespeare did or didn't intend doesn't even matter.

One of Mr Whitney’s many talents is his ability to assemble actors of particular excellence. It was hoped that Ophelia's death would somehow be delayed to extend Janet Haley's delectable portrayal of her. Never has Ophelia been so magically in love or as delightfully crazy! Not to worry, in a stroke of genius Ms. Haley returned, deeply, deeply clever as the fop Osric. Steve Manning and Terra Lea Allen provided highly satisfying interpretations of the king and queen. Following his definitive playing of Polonius, David Wright completely transmogrified into the scary and comic Grave Digger [sic]. Russ Holm provided sparkling vitality and versatility in his multiple roles, most notably as the Ghost and the central Player.

If there was any weakness, it was in the delivery of Fortinbras's play-closing lines, which, while probably acceptable for most productions, disappointedly fell short of the strength and eloquence established by all the dignified declarations that had come before.

Linda Whitney's eclectic costume design was extraordinarily exciting. Mixing and matching attire from across the ages, she created an intriguing and fresh new universe, adding tremendous and thought-provoking luster to the characters and their play.

Real. Live. Theater.
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