Bernhardt/Hamlet is nothing short of a total triumph for Janet McTeer and company. This is theater at its best, full of passion, humor, and heartbreak. As the great diva of the stage, Sarah Bernhardt, McTeer shows us the many sides of this complicated woman. At the center of the drama is Bernhardt’s decision to portray arguably the greatest Shakespearean role, the tormented Prince of Denmark. She argues her viewpoint persuasively, but at the root is her feeling that she wants something new, something different—and she really needs the money. Although she is clearly completely self-centered, Bernhardt aches for the man she considers her great love, the playwright Edmond Rostand (Jason Butler Harner). It’s easy to see why; he’s handsome, dashing, brilliant, and devoted to her. He’s also married, with a couple of little kids. Not only is he torn by having his affections pulled in two different directions, he’s also in a quandary about whether or not to squander his talents re-writing Hamlet for his amour. She all but commands him to take out the poetry so that the role will be easier for her. Not only does he balk at the notion of tinkering with the words of the Bard, but he also resents taking the time away from his own important work. One of the real delights of the play is seeing this drama spring to life. Cyrano de Bergerac is Rostand’s masterpiece. What if his long-suffering wife Rosamond (Ito Aghayere) hadn’t had the courage to confront Sarah and force her to read the work in progress? When the curtain goes up, we are taken to Paris in the year 1897. McTeer is standing alone on stage. The audience erupts in applause, as we do later when Bernhardt takes Rostand to task for making her role in the play, which was ostensibly written for her, a dumb, boring ingenue. The time for the straitjacket of stereotypical female roles has come to an end. Yes, she will conquer Hamlet, and damn her detractors! And indeed, we believe she can do anything. McTeer has such superb carriage, she looks regal in everything she wears, from her puffy shirt, tights, and over-the-knee boots to a glamorous black and gold ball gown which would still be a knock-out on the red carpet today. Her Bernhardt is often foolish, but never silly. Her corkscrew wig is replaced by a pageboy hairpiece for her Hamlet. Both look a little less than flattering, but she carries it off, pulling a curl here and there for emphasis. Not only are the costumes fabulous, but the set itself is a character, and an eye-catching one at that. The turntable rotates smoothly, starting with our backstage view, to Sarah’s flamboyant dressing room, to an outdoor scene. This is a show that dazzles the eye on many levels. In all the flash and pyrotechnics, it’s easy to overlook the performance of Dylan Baker as Constant Coquelin, Sarah’s friend, fellow actor, and playmate. Baker is far more than a journeyman actor; his range is so diverse that he’s often recognized for his ability to play charming psychos. Here, he contributes enthusiasm and a lightness of spirit which help keep the play fast moving and funny. Also to be praised are Matthew Saldivar as Alphonse Mucha, the artist responsible for his beautiful Art Nouveau posters, and Brittany Bradford as the lovely Lysette. In truth, the entire ensemble contributes to the excellent quality of this production, and it’s a joy to see how well they all work together. It’s impossible to say when we might see a tour de force like Bernhardt/Hamlet again. We may not have the Divine Sarah in our midst, but we are truly blessed to have the marvelous McTeer.
