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‘Hamlet,’ Kenny Leon’s Dynamite Version, Free Shakespeare in the Park
There are more iterations of Hamlet presented globally in the last fifty years than are “dreamt of in your philosophy.” To that point director Kenny Leon’s version of Hamlet, currently at the Delacorte Theater in Central Park until August 6th, provides an intriguing update of the son for whom time is so “out of joint,” he is unable to seamlessly and speedily avenge his father’s murder. Leon’s version shapes a familial revenge tragedy. Once set on its course, dire events cannot be averted, for at the core is the initial corruption, “the primal eldest curse, a brother’s murder” that “smells to heaven.” From that there is no turning, until justice is served, the sooner the better.
In this 61st offering of Free Shakespeare in the Park, we immediately note the conceit of corruption and its ill effects to skew the right order of things, making them “out of joint,” off-kilter. This is an important theme of the play (expressed by Hamlet) and represented by Beowulf Boritt’s set, some of which is a wrecked-out remnant of his design from Leon’s pre-Covid production of Shakespeare’s comedy, Much Ado About Nothing.
That 2019 design sported a resplendent, brick, Georgian mansion that stylistically conveyed the wealth and rectitude of its Black, lordly owners rising up in a progressive South. Hope was represented by a “Stacy Abrams for President” campaign sign proudly displayed on the side of the building. A towering flagpole and American flag patriotically stood like a sentinel at the ready. Peace and order reigned.
It is not necessary to have seen Much Ado About Nothing to understand the ruination and disorder foreshadowed by Boritt’s Hamlet set which coherently synthesizes Leon’s themes for his modernized version. In one section a tilted smaller version of the former Georgian house appears to be sinking off its foundation. On stage left, an SUV is tilted off center, undrivable, in a ditch. The Stacy Abrams’ sign is torn and displaced on the ground like discarded trash. And the American flag with its long flagpole angled toward the ground signals distress and a “cry for help.”
The only ordered structure is the cutaway of a building center stage (used for projections), whose door the characters enter and exit from.
Boritt’s set design suggests “something is rotten” unstable and “out of joint” in this kingdom. Themes of devolution are foreshadowed. From unrectified corruption comes disorder which breeds chaos and dark energy, out of which destruction and death follow. And all of this springs from the unjust murder of the deceased in the coffin that is draped in an American flag and placed center stage. It is his life which is celebrated by the beautiful singing of praise hymns at his well-attended funeral in the prologue of Leon’s Hamlet. It is his life that is memorialized by the huge portrait of the kingly father in military dress which hangs watchful, presiding over events from its position on the back wall of the only part of the set that is not wrecked and disarrayed.
Cutting Act I scene i (soldiers stand on guard watchful of an attack from Norway), Leon opens with the elder Hamlet’s funeral. A Praise Team joined by a Wedding Singer, who we later recognize to be Ophelia (the golden-voiced Solea Pfeiffer), sing with beautiful harmony. Jason Michael Webb created the music and additional lyrics which set out the Godly tenets that all are importuned to follow or live by. To their downfall they don’t and this is manifested in tragedy.
Importantly, the first three songs are taken from the Bible. The first is from Ecclesiastes (“To everything there is a season). Then follow Matthew 5 (“To show the world your love, I’m goona let it shine”) and I John 5 (“When you go on that journey you go alone”). The last song that Ophelia sings is composed of lines from a love poem that Hamlet wrote for her.
The songs intimate the former moral rectitude and divine unctions found in the former Hamlet’s kingdom. Ironically, the memorial service represents the last peace that this kingdom will appreciate. As the set indicates, wrack and ruin have already begun. The scenes after the funeral represent declension and growing darkness. And after old Hamlet is buried, nothing good follows.
Numerous cuts (scenes, lines, characters) abound in Leon’s version. His iteration presents questions about the disastrous consequences of familial revenge which is different from Godly justice suggested by the songs. Importantly, Leon’s update (sans scene i) gets to the crux of the conflict with scene ii, the marriage celebration of Claudius (the terrific John Douglas Thompson and Gertrude (Lorraine Toussaint is every inch Thompson’s equal). We note their public affection for one another, which Hamlet later intimates is a lust-filled marriage in an “unseemly bed.” The partying has followed fast upon the old Hamlet’s burial, to the dismay and depression of his loyal son.
It is during the festivities when the sinister intent of the new king and duped mother Gertrude chide Hamlet (the fabulous Ato Blankson-Wood). They suggest he put off his mourning clothes, “unmanly grief” and depression for it is “unnatural.” Already, the cover-up has begun and Hamlet is the one individual Claudius must be circumspect about as the rightful heir to a throne which he usurped.
Gertrude importunes Hamlet to remain in the kingdom instead of returning to his studies in Wittenberg, and dutifully, he obeys, stuck with the daily reminder of his father’s death and mother’s “o’er hasty marriage.” This version emphasizes Claudius’ sincerity covering over his suspicion and fear of Hamlet. He is happy to keep him under his watchful eye. Throughout his magnificent portrayal, Thompson’s Claudius gradually reveals his underlying guilt and fear for his crimes of regicide and fratricide. We see his behavior grow more and more paranoid about Hamlet as the conflict between them grows and Hamlet unloads snide remarks on Claudius, Polonius and all those who are obedient to the usurper king as a provocation.
Leon’s version is a familial revenge tragedy which eliminates any reference to Norway or Prince Fortinbras seeking justice for his father’s death in battle with Denmark. Leon is unconcerned with Norway and Fortinbras. The conflict in his Hamlet is internal to Denmark, a divided kingdom like “an unweeded garden, rank and gross in nature.” Divided against itself, with brother vs. brother and son vs. uncle, and Gertrude the exploited, seduced pawn, Claudius’ guilt is a canker worm which gnaws at him. Likewise, gnawing at Hamlet after his father’s ghost’s visit, is the knowledge of what has to be done. But he maintains, “cursed spite, that ever I was born to set it right.”
All is covert and the truth is covered up. Polonius and Claudius spy on Hamlet to divine why he is “mad,” and Hamlet acts mad and rejects Ophelia’s love during the process of divining whether the ghost is telling the truth. Intrigue, chaos and darkness augment and have their way with the innocent and guilty. For Hamlet, the “time is out of joint.” An intellect, he is “blunted” (the ghost later says) from making the correct decisions or acting upon them in a timely fashion. The darkness that Claudius has set loose taints Hamlet and every principal character that must show obeisance to King Claudius’ illegal reign.
Key to the argument of choosing vengeance vs. justice is the enthralling scene when Hamlet meets his father’s ghost. Initially, the creative team (Jeff Sugg’s projections, Allen Lee Hughes’ lighting design, Justin Ellington’s sound design) present the father’s ghost on the back wall with projections on the portrait and the wall, accompanied by the ghost’s booming, shattering voice, which commands Hamlet’s obedience.
But at the description of the murder, the ghost possesses Hamlet. Blankson-Wood’s performance of the ghost consuming his soul is phenomenal and physical. He arches his back with the jolt of spirit possession and then rights his gyrating body as his father’s voice spews wildly from him, eyes rolled back, arms waving, the very picture of the demonic that Horatio (the fine Warner Miller) warned Hamlet might “tempt him to the flood.” At once frightening and mesmerizing, the possession enthralls us and changes Hamlet. It is a dynamic, successful scene showing the decline in the goodness from the initial praise songs to the devolution of the spirit’s will demanding vengeance. We are thunderstruck. Blankson-Wood’s authenticity frightfully convinces us of the spirit’s potential for evil misdirection into a vengeance which is not just and will bring devastation.
After the ghost leaves the vessel it inhabited and Hamlet swears Horatio and Marcellus (Lance Alexander Smith) to secrecy, Hamlet’s fate is sealed. He moves toward faith in the ghost, farther away from the light-filled unctions in the songs at his father’s funeral. Now, there is no “showing love” and “shining one’s light.” Intrigue and acting “mad” and conspiracy and cover-up overtake the mission of the kingdom. Hamlet toys with and ridicules Polonius (Daniel Pearce gives a humorous, organically funny portrayal) and does the same with Ophelia in a powerful scene, eschewing his love for her. Pfeiffer’s Ophelia shows her devastation and shock. His behavior is a complicating truth for everyone and it intensifies Hamlet’s conflict with Claudius.
Knowing Hamlet’s madness is not for Ophelia’s love, Claudius grows more paranoid and guilt laden. Clearly, when the actors make their presentation of the dumb show (Jason Michael Webb’s song “Cold World” is superb), and Hamlet presents ‘The Murder of Gonzago,’ he and Horatio see that Claudius’ guilty conscience is made manifest in ire and defensiveness. Though this scene is truncated, as is Hamlet’s description of how the actors should proclaim their speeches, no coherence is lost. Claudius runs away, his soul uncovered. Hamlet is convinced vengeance is the right course of action. But he has allowed himself to be misguided. Nothing good will come of following the ghost’s lead.
Leon truncates the minor speeches, retaining those that convey Hamlet’s angst at being stuck in the kingdom which is a prison. He can’t commit suicide (“To Be or Not to Be”) because his morality and fear of death forbids it. Stuck in Denmark, everyone is a potential enemy except Horatio. He uses coded speech with everyone especially Rosencrantz and Guildenstern, who Claudius/Gertrude have engaged to spy on him. Ato Blankson-Wood delivers the key soliloquies powerfully with insight as he makes the audience his empathetic confidante who understands his intellect has chained him to inaction. We are drawn into his plight, but become frustrated when his determination falters.
The paramount event where his intellect intrudes happens when Claudius is praying in the church (fine stylized staging). Coming upon Claudius, Hamlet rejects the opportunity to kill him because he thinks Claudius is confessing his sins and getting right with God. However, it is a missed opportunity which Hamlet squanders because Claudius’ prayers fail (“my words fly up, my thoughts remain below; words without thoughts never to heaven go.”). Claudius realizes to receive forgiveness he would have to give up the throne, Queen and his cover-up which he will never do.
Hamlet lacks proper discernment and moves from his bad decision to impulse. Not killing Claudius in the church, he rashly and mistakenly kills Polonius, assuming incorrectly that Claudius quickly ran up to Gertrude’s room. The stakes are raised for Claudius and Hamlet. Polonius’s death missing body incense Claudius who is overwrought with fear knowing his enemy Hamlet has put a target on his back.
Once more, the “time is out of joint,” and Hamlet defers vengeance and subjects himself to Claudius, finally revealing where Polonius’ body is. For Gertrude’s sake, Claudius sends Hamlet away with the orders for others to kill him in a plan that fatefully backfires.
Leon’s version has clarified the stakes for Claudius to escape accountability, manipulating Laertes (Nick Rehberger) from killing him by blaming Hamlet. Thompson conveys each of these cover-ups with precision. Also, clarified is Blankson-Wood’s angst and struggle confronting his father’s murderer. His use of irony as a weapon to prick Claudius’ conscience is superbly rendered as are his soliloquies whose philosophical constructs tie him in emotional knots. Hamlet, knowing that he is stuck in a morass with no way out, recognizes that like the other characters, he is on a collision course with destiny and ruination which is foreshadowed at the beginning with Boritt’s set.
Also, clarified in this version is Toussaint’s Gertrude who is in a state of ambivalence and guilt stirred by Hamlet’s antic behavior, which she suspects is his response to her marrying Claudius. When their confrontation occurs after Hamlet kills Polonius, she knows her relationship with Claudius must be thrown over, yet she hesitates and discusses Hamlet with Claudius ignoring Hamlet’s wise counsel. The doom she recognizes in Ophelia’s madness will only bring more sorrows, a trend which both Claudius and Gertrude comment upon. Toussaint’s description of Ophelia’s drowning is heartfelt and mournful.
The flow of events coheres because the through-line of Claudius and Gertrude in conflict with Hamlet is maintained with intensity. Stripping Norway from the action and leaving Fortinbras out of the conclusion is to the purpose of Leon’s emphasis of the familial tragedy. The contrast of the good son and man of action who achieves justice (Fortinbras) with Hamlet’s flawed son of inaction who is Fortune’s fool, exacerbating destruction via revenge gone wrong would have pleased Queen Elizabeth I. Contrasting the two Prince’s and showing the heroic one in Fortinbras is an encouragement of how royalty should rule. However, it doesn’t fit with the themes that Leon emphasizes, especially that a “house divided against itself cannot stand.”
Hamlet concludes with the slaughter of two families tainted by their association with a corrupted king, out from which there is no release except death. A final theme current for our time suggests that unless individuals stand against usurpers of power, the usurper and all who are his accomplices by not bringing him to justice will pay the forfeit of their lives and fortunes.
However, only Miller’s Horatio understands the full story of Hamlet and the striving between vengeance and justice. That vengeance brings disaster is why the ensemble finishes with the actors’ song that they sang when Hamlet first meets them. It is poignant and true and heartfelt when the spirit of Ophelia joins them and together they sing, “I could tell you a tale, God’s cry. It could make the God’s cry.”
Kudos to the ensemble and the creative team who carry Leon’s vision of Hamlet into triumph. These include those not already mentioned: Jessica Jahn’s colorful costume design, Earon Chew Nealey’s hair, wig and makeup design, Camille A. Brown’s choreography and Gabriel Bennett for Charcoalblue and Arielle Edwards for Delacorte’s sound system design.
For tickets to this unique Hamlet which has one intermission, go to their website https://publictheater.org/productions/season/2223/fsitp/hamlet/
‘Almost Famous’ The Broadway Musical Gives a Shimmering Nod to 1970s Rock ‘n’ Roll
From the response of the audience’s standing ovation and cheering, the snarky comparison by critics to the lead actors of Almost Famous and Dear Evan Hansen and other criticisms didn’t seem to matter. That is because Almost Famous delivers. This is especially so if one has seen the titular film (2000). If you appreciate a nod to what Howard Stern refers to as the best music of the past (better than the 1960s), and take that love or fandom to The Bernard B. Jacobs Theatre, you will be happy you went to see this enjoyable production of Almost Famous directed by Jeremy Herrin.
Written by Cameron Crowe (book and lyrics), and Tom Kitt (music and lyrics), based on the Paramount Pictures and Columbia Pictures film written by Cameron Crowe, the show spreads its uplift and hope during a holiday season that is bringing crowds to Manhattan. Tourists, rockers and Broadway fans up for an entertaining night out will be pleased at the sterling voices, the humor, the energy of the performers and the music which connects the familiar story-line to the historical 70s music scene with nostalgia and poignance.
The classic rock covers (i.e. Deep Purple, the Allman Brothers), sustain us while Kitt’s original music is interesting with memorable songs like “Morocco,” “The Night Sky’s Got Nothing on You,” and “Everybody’s Coming Together.” The new melodies (a combination of rock and pop), convey the heart of the characters who are subtly drawn.
Fandom is the key to frequent successful film to stage transference. It may or may not apply here. The creators have taken a leap into the Broadway musical genre. They’ve created original songs for live performance and they have slipped in songs from the period (Led Zeppelin, Joni Mitchell, Cat Stevens, Lynard Skinner, Stevie Wonder, David Bowie and Elton John) into the musical’s action but not in the same way as in the film, whose background was replete with rock ‘n’ roll songs from start to finish. That doesn’t happen with this musical that has 18 newly-written songs. Included are four reprises from Tom Kitt (music) and Cameron Crowe (lyrics). The songs move the action as the characters express their conflicts, issues, desires and feelings and get tangled up in each others’ agendas.
Staged cleverly with Sarah O’Gleby’s movement, director Jeremy Herrin and the creative team eschew traditional choreography and keep the sets simple and minimalist to suit roadies on tour with the exception of William’s and Elaine’s home. This is in the service of suggesting the free form movement of the 1970s. The concept of great rock was fading into new musical trends like Rap then moved in the 1980s to MTV domination. Ultimately, the musical is a nod to 1970s rock ‘n’ roll and its ethos before commercialization and digital technology skewed it into something else.
Though the action is condensed with the added musical numbers, the arc of plot development, based on Crowe’s real-life journey as a teenage rock writer, follows the film. Wisely, the humorous lines in the production are lifted from Crowe’s writing, which won an Oscar for best original screenplay (2001).
One of the most important themes of the musical reveals an ambience of the 1970s, that was culturally strained between liberalism and conservatism. This is partly suggested by the opening number “1973,” when William Miller (the excellent Casey Likes), confesses to rock ‘n’ roll critic Lester Bangs (a manic, funny Rob Colletti). William sings about his conflicts with his mom. She stands in the way of his discovering “who he is.” In a state of flux, his mother Elaine (the humorous Anika Larsen), a teacher fearful of “drugs, sex and rock ‘n’ roll,”controls William and his sister Anita to the point where Anita (Emily Schultheis), rebels and leaves home.
However, Elaine can’t quite figure out who she is either. She adopts a healthy vegetarian/vegan lifestyle, clearly a liberal cultural influence. Yet, conservatively, she disagrees with subversive music (the rock ‘n’ roll Anita loves), and its cultural aftereffects (sex, drugs, wild partying). The pull of conservatism and liberalism is one William faces in his conflict with Elaine, but he’s leaning toward the underground and subversive, reinforced when his sister gives him all her rock ‘n’ roll albums to be “cool.” These inspire him to write for his school newspaper with the hope of a possible career as a writer or future music critic.
One element of his confusion, unbeknownst to him. is that his mother had him skip grades and lied about his age. Meanwhile, he is embarrassed because he has no pubes, is alone, uncool and alienated by classmates who humiliate him. Naturally, when he receives a response from Lester Bangs, the finest rock critic in Christendom, who accepts and encourages him, he jumps at the chance to write for Bangs’ Creem Magazine. On the road to being a bone fide critic, he lands an assignment from Rolling Stone to profile a rising band called Stillwater.
William manages to obtain Elaine’s permission by swearing he will remain pure and stay away from drugs and sex. Elaine relents because she dimly thinks it is better to connect with him and “keep him near,” (which fails), rather than lose him like she lost Anita. Ironically, she loses him in a different way. The rock band “kidnaps her son,” a funny and wonderful refrain in “Elaine’s Lecture” which is a lament that carries her angst about what is happening to William. He goes on the road with the band to get an interview, for which Ben Fong-Torres (Matthew C. Yee), will pay him handsomely. It’s an opportunity too good to pass up.
Likes’ William enjoys the excitement of “getting down” with beautiful young women who assist bands in their mission to be great. These groupies, cheering the praises of their leader Penny Lane (Solea Pfeiffer), have re-branded themselves as The Band-Aids. They are rock ‘n’ roll muses and their mission is “all about the music.” Indeed, Penny Lane has so fulfilled her role, that musicians have written 14 songs about her, and “all of them good,” affirms Estrella (Julia Cassandra).
With such a build-up of excitement Likes’ William is smitten with Penny (Solea Pfeiffer), and her Band-Aides who, along with Estrella, include Sapphire (Katie Ladner) and Polexia (Jana Djenne Jackson). Solea Pfeiffer is an “all that” Penny Lane who doesn’t quite convince us that she is about the music and so “cool” and scintillating to musicians, that she is their fount of inspiration. But then she is not supposed to. The Band-Aids, Penny and Stillwater’s Russel Hammond (Chris Wood), Jeff Bebe (wild, rocking Drew Gehling), Larry Fellows (Matt Bittner), and Silent Ed (Brandon Contreras) are “hype.” The actors (the Band-Aids and Stillwater), do a superb job of managing their characters’ “cool” with enough awkwardness for us to know that they are “almost famous,” but not there yet. And as a result, they will never really achieve super stardom because they get in each other’s way and are totally “uncool.”
The Band-Aides and Stillwater must walk the tightrope of not believing their own image to avoid falling into a destructive abyss which threatens throughout. This conflict and tension abates after the moment of truth on the airplane, especially when Woods’ Hammond and Gehling’s Jeff Bebe reveal their deepest secrets because they fear the plane will crash. This scene is technically delivered to surprising effect. Humorously, the tiny jet “flying” on a chord from one side of the stage to the other was so “over-the-top,” it worked in the service of farce.
The actors did a great job with the scene to convey just enough humor and fear to “spill the beans” and further wreck Stillwater’s “togetherness.” Believing their own hype brought them to facing this catastrophe on the plane. If they continued to take their humble tour bus, they would have been safer. The real dose of reality that Hammond says he wants is a pose only revealed when he thinks he’s going to die. Thanks to Derek McLane (scenic & video design), Natasha Katz (lighting design), Peter Hylenski (sound design), and the actors’ authenticity, the scene embodies their magical thinking vs. truth, a key conflict and theme of the musical.
Williams’ adventures initially captured in his journey through the songs, “Who Are You With?,” “Ramble On,” “Penny and William,” “Fever Dog,” and “Morocco,” evidence the pitfalls of being a rock ‘n’ roll critic who is always a “watcher” of the action, not a creator of it. Colletti’s Bangs humorously warns William to be “honest and unmerciful.” When William gets a taste of the band culture, its groupies and the challenge to be accepted, he tries not to be overwhelmed or lose his “objectivity.” Yet, he succumbs to their manipulations. First, there’s the rejection of him as a critic (called “The Enemy” by Stillwater’s Jeff Bebe). This wears him down and makes him want to “fit-in.” Though he resists and manipulates band members with flattery, he never adheres to Lester Bangs’s sage advice. Gradually, William is sucked in because Stillwater’s Bebe, Hammond and Penny Lane are good at “the game.” William is clever, but he’s a neophyte.
This “congenial” conflict between William, the band and Penny Lane disappears when he believes he is a friend, (“Something Real,” “No Friends,” the healing of divisions with “Tiny Dancer,” “Lost in New York City, Pt. 1” and “River/Lost in New York City Pt. 2”). But this “friendship” is a blind and his presumed love with Penny Lane eventually clarifies for him when she leaves him to the Band-Aids and joins Hammond (“It Ain’t Easy”). He is discouraged, but hangs on and writes a piece for Rolling Stone. However, it is rejected by fact-checker Allison (Emily Schultheis), and he is accused of writing a puff piece that Stillwater encouraged him to write. Only until Wood’s Hammond finally verifies William’s honest and “unmerciful” article to Rolling Stone, is the “magical fake world” of the band blown apart. However, this is beneficial for it allows the band and groupies to begin a new day.
Through lines in characterization are consistently effected. The conflict between son and mother abides from start to finish and provides much of the humor. Anika Larsen deftly balances Elaine as a typical loving parent, whose concern, knowledge and control are acceptable to the audience. She is never acerbic or preachy in the songs “He Knows Too Little (And I Know Too Much),” “Elaine’s Lecture,” and “Listen to Me.” Resolutions occur by the conclusion, when Anita has found herself and the full company sings the reprise of “Everybody’s Coming Together,” a rousing standout.
The actors, shepherded by Jeremy Herrin, do an excellent job of precluding who will end up on the floor of their own demise. This is strongest when we note the rifts between Bebe and Hammond, beginning when the T-shirts are distributed, then moving to the partial healing of their divisions on the bus with the singing of “Tiny Dancer,” another knockout scene and high-point at the conclusion of Act I. Though manager Dick Roswell (Gerard Canonico), has brought them together for a while, the conflicts among band members continue. They encompass Penny Lane and Russell’s relationship. Penny Lane is sold out in a bet that William witnesses during the Poker game scene. Pfeiffer’s Penny Lane and Likes’ William are excellent together with resonating lyricism and power when he saves her life after she overdoses on Quaaludes.
Most of the new songs work. Additional strong scenes/songs include Penny and William’s “The Real World,” Russell and Penny Lane’s “The Night-Time Sky’s Got Nothing on You” and “Something Real” when Woods’ Hammond falls apart at a fan’s house. At this point before the end of Act I, William attempts to keep Russell away from acid and fails. Woods and Likes do an excellent job revealing the negative pressure on their characters from the hype that Wood’s Hammond attempts to escape. It is an irony that he can’t because he is as needy and “uncool” as Penny Lane, Jeff Bebe and the others. However, he just hides it better.
Interestingly, in his immersion with the band, the only time they all come out of their “image” is when Likes’ blows it up with the final Rolling Stone piece about them, something that Wood’s Hammond encourages and has yearned for. Then, even Penny Lane is able to gain the strength to go to Morocco, leading to a satisfactory conclusion with “Fever Dog Bows,” which the entire company sings as a tribute to 1970s rock ‘n’ roll.
Kudos to the creative team already mentioned with special praise for Bryan Perri’s music supervision and direction, and Lorenzo Pisoni as physical movement coordinator. This is one to see for the shimmering performances, rousing music and nostalgia for a time we will never see again in its wacky innocence and silly “hedonism,” which seems quaint viewed through our current perspective. For tickets and times go to their website: https://almostfamousthemusical.com/
CAROLE DI TOSTI 