Shakespeare gives us so much latitude in interpreting Hamlet that an audience is never sure what it is going to get. The current version playing at the American Players Theater in Spring Green is a curious hybrid. This Hamlet, played by veteran actor James DeVita, is neither particularly young nor particularly mad. Instead, he comes across in a cold, calculating, almost detached way. At times, DeVita seems unable to connect with this enigmatic character. He seems older and wiser than "Hamlet" often appears to be. He is cynical, conniving and ruthless.
However, one rarely glimpses the passion or nobility one would expect from this brooding Dane. Hamlet is, after all, heir to the throne. When his uncle dispatches Hamlet's father, the king, just prior to the play's opening, it puts Hamlet in a double bind. Not only is he angry about his father's untimely death, he also fears his own fate now that the uncle has proclaimed himself the new king. Hamlet is much less certain of achieving the crown under his uncle's rule than his father's. This seems to matter little to DeVita. He is far more incensed at his mother's quick acceptance of the uncle's marriage proposal. (It never occurs to him that this may be his mother's way of assuring Hamlet's ascendancy to the throne.)
Under David Frank's direction, DeVita also seems to shortchange the audience while delivering his soliloquies. For instance, "To be, or not to be," is almost muttered under Hamlet's breath as he makes his way toward the stage.
Aside from DeVita's low-key performance, other characters receive better treatment. Robert Spencer, as Polonius, the king's counselor, plays up the dithering qualities of this old man to the point where one is not sad to see him dispatched by Hamlet's knife. Prior to his untimely end, Spencer does an excellent job of giving parental instructions to his children, Ophelia (Susan Shunk) and Laertes (Christopher Marshall). The critical part of Ophelia is always a difficult one to portray, since she must make an impression while reciting relatively few lines. Shunk is very young (which makes Hamlet seem all the older), and she works hard to make Ophelia memorable. After Ophelia dies, a high point of the production is the duel in the final scene, in which most of the other major characters are killed. Credit goes to fight director James Ridge for creating this frighteningly real battle.
Christopher Marshall impresses throughout as Laertes, a former friend of Hamlet's who believes he must avenge his father's death and his sister's suicide. Likewise, Brian Robert Mani is excellent in the difficult role of Claudius, the traitorous uncle who now wears the crown. One can almost feel his shifting emotions between ambition and remorse. James Ridge is as stellar onstage (as the ghost) as he is as the fight director. Matt Tallman also deserves mention for an excellent performance in the important (though somewhat unappreciated) role of Horatio, Hamlet's friend.
This Hamlet would have benefited from a more elaborate set (including a hedge), despite the reality that the set must be struck after every performance due to the rotating repertory. The costumes are quite lovely and appropriate to the period. The sound, by Barry G. Funderburg, adds much to the play's atmosphere. In sum, this Hamlet has its moments, but it does not illuminate this enigmatic character in a memorable way.
