Hamlet
August 2007

BY: MARY JO PENDLETON

In an effort to palliate Shakespeare's elitist, academic appeal, directors and
producers over the years have attempted to modernize variously the language, period,
setting and costumes. Shakespeare's literary significance, however, is not in the
changes, but in what remains the same. Shakespeare transcends time and place, a
genius of universal themes and archetypal human behavior. The Guerilla Theatre's
production of "Hamlet" captures this essential Shakespeare, even though it's a bit of a
stretch.

According to director Jeff Boardman, "This version of 'Hamlet' takes place in the
Southern town of Denmark at Elsinore Plantation, ancestral home of the family
Hamlet, real estate moguls and commercial developers. These are truly the kings
and queens of our modern day."

To further suspend our disbelief, Hamlet is a woman. Liz Pierce was cast in the title
role because director Jeff Boardman and Guerilla CEO Richard Davis believe she
was the best actor to audition for the part. The re-creation of time and place can be
reconciled easily, though several of the stronger Southern accents render the
Elizabethan language a bit quirky. For a traditional audience, a female Hamlet is more
problematic.

Most critics believe that Hamlet's tragic flaw is his inability to act, and his delaying
strategies in avenging his father's murder are often perceived as cowardly. Liz
Pierce's interpretation is anything but cowardly. She is clearly an angry Hamlet.
Though Guerilla Theatre has not changed the story, Hamlet's doubt and hesitation
seems transformed to a mounting fury.

Hamlet's anger is frequently manifested physically, which is surprising considering
Pierce's diminutive stature. She beats up her friends and her mother, and gleefully
stabs Polonius then drags him off the stage. In the thrilling conclusion, she fights
Laertes (Richard Davis) with a sword that probably weighs more than she does. The
sword fight alone is worth the price of a ticket. A furious Hamlet is interesting, but
there is a nagging sensation of overcompensation for size and gender.

Though "Hamlet" is essentially a one-man (or woman) play, because of the
prevalence of soul-searching monologues, the supporting characters significantly
affect the production. The cast as a whole was delightfully at ease with the difficult
dialogue and the actors appeared to perform their roles effortlessly.

Antony Lawson, as King Claudius, was majestically evil as well as sympathetically
vulnerable at times, particularly in his obvious affection for Gertrude (Pam Unruh). As
the mad Ophelia, Rose Bachtel, sang nonsense beautifully and seemed to stun even
her fellow actors with the depth of her insanity. Polonius, perhaps unfairly, has always
been considered something of a clown. Charles Grimes's bright clothes, bow tie and
slow Southern accent were absolutely on target for the character. He provided
necessary comic relief, and it was disappointing when his dead body was dragged off
the stage. Richard Davis, of course, played his several roles flawlessly with different
accents. It would have been more effective, though, if the ghost of Hamlet's father had
remained shadowed by his hood.

In his directorial debut, Jeff Boardman has been creative and courageous. This
version of "Hamlet" will not appeal to everyone, but it is definitely not boring. There are
a few inconsistencies resulting from the modernization of the play. For example, why
does Hamlet use knives and swords rather than a gun? Cutting the dramatic and
perfectly executed sword fight would be criminal, but it seems reasonable to leave the
handguns out of the production entirely. Anton Chekhov once advised a young
playwright, "If a gun is hanging on the wall in the first act, it must fire in the last."

As usual, though, Guerilla Theatre challenges our imaginations and opens our minds
to new ideas. The play continues at King Hall Auditorium (next to UNCW Randall
library) August 10th-12th and 16th-18th at 8pm; Sundays, 2pm. $10.