“Ser o no ser, esa es la cuestión.” If Shakespeare’s classic line in Spanish doesn’t ring any bells, then Apollinaire Theatre’s “Hamlet” will offer a whole new experience.
Running from Aug. 4 to Aug.19, 2023 in Chelsea Square, Apollinaire Theatre’s production of “Hamlet” follows the well-known plot of the Shakespeare play. Unlike many versions of the century-old play, this performance was public, free and bilingual. It is a part of the “Apollinaire in the Park” program which has annually produced Shakespeare plays available to all. The theater took risks in their unique decisions regarding space, script and acting. It was this experimentation and creativity that crafted a communal, successful experience.
In the play, Prince Hamlet of Denmark (Armando Rivera) seeks revenge against his uncle, Claudius (Brooks Reeves), who has taken the throne after murdering the prince’s father and marrying his mother, Gertrude (Paola Ferrer). Hamlet goes on to feign insanity, orchestrate a play-within-a-play and accidentally murder Polonius (Ron Lacey), the king’s advisor and father of Hamlet’s girlfriend, Ophelia (Anna Riggins), who is found dead soon after. Polonius’s son Laeretes (Alan Kuang) challenges Hamlet to a duel, where the story culminates as Hamlet, Gertrude, Laeretes and Claudius all die.
The outdoor stage was the surprising strength of the display. Scenes weaved through streets, clearings and even a nearby building as the audience was led throughout the park by assistant director Amaris Rios’s waving pink binder. The sets complimented the tone and mood, from dry ice in the square’s fountain lending an eerie backdrop for the king’s ghost to Hamlet’s buddies pedaling Bluebikes through the laughing crowd. These original choices kept me engrossed and moving as the events of the play unfolded.
It was evident that sound and lighting had been carefully planned, after all, the majority of viewers would be watching from the back of a crowd in the dark evening. A cart with speakers was rolled between areas, projecting sound effects and the actors’ microphones, while spotlights were propped strategically on barstools and electrical boxes. Not only did the meticulous arrangement allow for great sight lines, but it made for a layered experience too. While a scene occurs inside the window of Apollinaire Theatre’s building, actors may be silently weaving through the crowd or interacting with other viewers separately.
Now, considering Shakespeare’s works have notoriously been hard to follow with early modern English and complex plots, one may think a cast constantly switching languages would make the production unintelligible. However, that wasn’t the case. While actors performing in both Spanish and English could easily have obscured the original script, the production addressed the change beautifully. Subtly repeating keywords in both languages and utilizing the actors’ physical storytelling was meant to be supportive of monolingual audience members. Overall, bilinguality was a potentially confusing component that became an asset, not only because it added character to the show, but also since it made the play more focused and clear.
Especially with a shortened version, running roughly 90 minutes, additional elements like the bilinguality and immersion were ambitious. Nevertheless, thematic clarity was sacrificed as important moments were cut short, like Hamlet’s “Alas, Poor Yorick” monologue. While these parts may have been necessary to shorten, the decision took away from the original complexity and existentialist themes.
That said, the broad strokes of the plot and relationships were kept intact by the talented cast who had an incredible focus and energy. One could listen to Hamlet arguing with Ophelia back and forth between English and Spanish and still understand both sides through the actors’ masterful control over their body language and intonations.
Claudius was a highlight, as Reeves appeared to have fun with the joyous, conniving character, and seemed at the center of all the scenes he was in. At one point, he even took a beverage from the beer garden with his graceful exit. Reeves orchestrated many organic moments that made the play, using purposeful background acting and natural chemistry with other actors to add life to each scene.
Whether it’s a motorcycle revving over Hamlet’s soliloquy or the ensemble handing out slices of cake to the audience during the king’s coronation, the unusual setting and script were made into strengths of the performance through diligent forethought and an incredible cast. It was these distinct elements that made “Hamlet” an unpredictable, charming masterpiece.
