I forgot how many people die in Hamlet. It's the same amount as die in any other Shakespeare tragedy. A lot. Fortunately, during The Donmar Warehouse Production of Hamlet, you don't ever wish you were one of them. Which is much more than can be said for many versions of this play.
First, there's Jude Law. I would be remiss in my journalistic obligation of full disclosure if I denied that I would very much like to have his babies (I know, I know, there's a line). But not just because he's delectable. Mainly (also?) because he's talented as hell! His Hamlet is not a weeping willow, barely conjuring the energy beneath his grief to extract his revenge. Neither is he so obtuse a royal as to miss any of the proverbial wool others wish to pull over his eyes. Rather, his is a Hamlet of easy intellect, sharpened and propelled by his quest for revenge, faultlessly manipulating the lesser mortals around him and all the sadder for his hyper-sensitivity to the hypocrisy and treachery which invade his world. Law seems to sincerely grapple with the meaning and worth of life, is overcome with frustration at others' misdeeds, and handles all of Shakespeare's loftiest speeches with surprising authority and grace. He is even outfitted in a (fine cashmere) cardigan for most of the production, no doubt the founding father of sad and downtrodden emo kids everywhere. As he paddles barefoot through the snow, he at once seems to shrink and expand, to collapse and soar, beneath the weight and subsequent responsibility of his insight.
Law could easily carry the show himself, but Shakespeare does have a habit of getting heavy somewhere around the middle of Act II. The supporting cast is more than willing to help him out. Ron Cook as Polonius & 1st Gravedigger, Gwilym Lee as Laertes, and Gugu Mbatha-Raw as Ophelia are most notable. The Shakespeare spoken here slips easily off the tongue and does not confound the audience as it makes contact with their ears (an added bonus of an English production making its way across the pond). Extra points were scored for the incredibly well-staged and executed sword fight between Hamlet and Laertes.
The cavernous, chilly set is the perfect negative space to accent the bright performances. I especially loved the cold blast of air that greeted the audience every time the King's ghost appeared, or an outside door was opened. The snow bears mentioning again, and the lighting was perfect - unforgiving, focused straight down from above, and dividing each person's shadow precisely in half, so that it stained the floor to both his right and left.
While it has no relation to the show itself, I feel compelled to mention Jude Law's graciousness after the show. He was clearly and undoubtedly exhausted from emptying himself emotionally on stage for 3 hours, yet spent a solid 5+ minutes outside the stage door signing every thing that every person thrust into his hands, genuinely thanking people for their praise and attendance, and never quibbling about the incessant flashes going off inches from his face. Truly a prince.
Through December 6th @ the Broadhurst Theatre, 235 W. 44th St
First, there's Jude Law. I would be remiss in my journalistic obligation of full disclosure if I denied that I would very much like to have his babies (I know, I know, there's a line). But not just because he's delectable. Mainly (also?) because he's talented as hell! His Hamlet is not a weeping willow, barely conjuring the energy beneath his grief to extract his revenge. Neither is he so obtuse a royal as to miss any of the proverbial wool others wish to pull over his eyes. Rather, his is a Hamlet of easy intellect, sharpened and propelled by his quest for revenge, faultlessly manipulating the lesser mortals around him and all the sadder for his hyper-sensitivity to the hypocrisy and treachery which invade his world. Law seems to sincerely grapple with the meaning and worth of life, is overcome with frustration at others' misdeeds, and handles all of Shakespeare's loftiest speeches with surprising authority and grace. He is even outfitted in a (fine cashmere) cardigan for most of the production, no doubt the founding father of sad and downtrodden emo kids everywhere. As he paddles barefoot through the snow, he at once seems to shrink and expand, to collapse and soar, beneath the weight and subsequent responsibility of his insight.
Law could easily carry the show himself, but Shakespeare does have a habit of getting heavy somewhere around the middle of Act II. The supporting cast is more than willing to help him out. Ron Cook as Polonius & 1st Gravedigger, Gwilym Lee as Laertes, and Gugu Mbatha-Raw as Ophelia are most notable. The Shakespeare spoken here slips easily off the tongue and does not confound the audience as it makes contact with their ears (an added bonus of an English production making its way across the pond). Extra points were scored for the incredibly well-staged and executed sword fight between Hamlet and Laertes.
The cavernous, chilly set is the perfect negative space to accent the bright performances. I especially loved the cold blast of air that greeted the audience every time the King's ghost appeared, or an outside door was opened. The snow bears mentioning again, and the lighting was perfect - unforgiving, focused straight down from above, and dividing each person's shadow precisely in half, so that it stained the floor to both his right and left.
While it has no relation to the show itself, I feel compelled to mention Jude Law's graciousness after the show. He was clearly and undoubtedly exhausted from emptying himself emotionally on stage for 3 hours, yet spent a solid 5+ minutes outside the stage door signing every thing that every person thrust into his hands, genuinely thanking people for their praise and attendance, and never quibbling about the incessant flashes going off inches from his face. Truly a prince.
Through December 6th @ the Broadhurst Theatre, 235 W. 44th St
