Eric Tucker directs & stars in Hamlet (photo: Elizabeth Nichols) |
This device, one of many, extends
the stage space into new dimensions, and also keeps the physical relationship
between actor and audience in constant flux. In a sense, it’s a modernist
extension of Shakespearean dramaturgy, which defined the location though word
and action rather than set and props. Bedlam’s bold, unconventional style
establishes their potential for greatness in the Off-Broadway scene.
The bespoke design frees the company
to try radical methods, even beyond the triple- and quadruple-casting of
actors. But Bedlam’s work rarely feels tricksy or cerebral, partly because they
eschew technological solutions, and partly because the company’s designer (John
McDermott) covers the blank space in whitewash to create an empty, rough-hewn ambiance—Bedlam’s
stage isn’t a lab, it’s a workshop. The sensibility generates remarkably
effective theater. Their Hamlet, for
instance, has a truly unsettling ghost. The prince himself stands before the
audience; a stagehand shines a powerful flashlight at his face at the back of
the house; in the surrounding darkness, the trio of other actors delivers the
ghost’s lines and sentences in rotation and overlap. The disembodied sound and
eerie halogen light prickles our flesh and makes us doubt the ghoul’s integrity.
Polonius (Edmund Lewis) gets mocked by everyone onstage (photo: Elizabeth Nichols) |
Ironically, the more the company relies
on Shakespeare’s script than on their own vision, the more unfocused the show
is. Generally, their playing style draws the characters in broad, simple
strokes. But in the psychological scenes, especially the setpiece speeches of
Hamlet, Claudius, and Gertrude, they execute the script in deferential fashion.
As Hamlet, Eric Tucker has a dashing manner and an expressive face, and he’s
plays the character’s ironic self-reflection well. But aside from the nunnery
speech, he never comes up with a new perspective on a scene or soliloquy.
Though the general tenor is there, he lacks specificity.
So when the show drags in the middle
set of acts, it’s because Bedlam mostly backs off from the showmanship. The
troupe’s female member, Andrus Nichols, plays both Gertrude and Ophelia; it
would’ve been more interesting—and in keeping with Bedlam’s sense of theatrical
liberty—to cast one of the men. The numeric limitation in cast means that Nichols
plays several men anyway, of course, and in those cases, she often plays the
role as genderless. But her Guildenstern is specifically female, because she’s
the focus of Hamlet’s misogyny like Ophelia and Gertrude. Perhaps the minor
theme would’ve been blunted if Nichols hadn’t played those latter roles, but while
her Guildenstern offers new insight into the play, it’s less bold—less
Bedlam!—than cross-casting men might have been.
But even in the middle third,
Bedlam’s Hamlet is the equal of any Off-Broadway
Shakespeare, and its first and final thirds place the production above most. The
company’s nonconformist ethos proclaim them to be an electrifying addition to the
New York scene and especially to the staid collection of classical companies.
I’d love to see their Winter’s Tale
or let them loose on a Restoration Comedy; but whatever they stage next, I hope
they’ll be inspired to attack in rough and rousing style.
---
Hamlet
Bedlam at the Culture Project
director: Eric Tucker