To be or not to be is not the prevailing question when it comes to Hamlet. More intriguing is how does one make Hamlet fresh and modern while still honoring the text? The joy of seeing/performing/working on a play from the Bard is that his plays can be interpreted and shaped in many different ways to reflect modern politics, social climates, economic highs and lows, or a multitude of other contexts. Angie Higgins has helmed a production of Hamlet at Silicon Valley Shakespeare with a casting choice that is the complete opposite of Shakespeare’s original production by having an all-female cast. The fanciful side of this choice is that the play’s impact is still very much intact. The effective side of this choice is how more empowering a play it becomes for the women who are playing the traditional male roles. With an overall strong cast, Miss Higgins’ “girl power”-infused production hits the emotional and entertaining highs and lows that Hamlet promises.
Anne Yumi Kobori takes on the titular hero with aplomb and connection to her other actors, but often misses the beat or humor coinciding with many of Hamlet’s asides and monologues. Though very good at inviting the audience in to Hamlet’s next plot or emotional turmoil when figuring out how to avenge his father’s murder, Miss Kobori’s pacing and cadence drives thru any beats of contemplation or letting the thought/emotion sink in. Jenafer Thompson delivers a passionate Laertes, full of vim and vigor. Miss Thompson’s physical performance makes her a believable comrade who’s ready to fight at any moment. Sarah Thurmond is a brooding, strong Horatio, making the exposition and information-ridden role not a burden but a welcomed character in each scene.
(Anne Yumi Kobori (Hamlet) and Doll Piccotto (pictured as Claudius); Photo credit: Angie Higgins)
Doll Piccotto and Melissa Weinstein deliver mesmerizing performances as the ultimate in royalty, Claudius and Gertrude, respectively. The emotional vulnerability and, literally, shaken presence Miss Weinstein infuses her Gertrude with stamps her performance with a caliber that any strong Gertrude should have. Miss Piccotto has a grand, domineering presence and vocal power that makes her Claudius a fantastic villain to see plot and examine. Miss Piccotto leaves no emotion unseen by solidifying her royal stature in prominent form. April Culver and Melinda Marks are a dynamite duo as Rosencrantz and Guildenstern, making their individual nuances stand on their own while still having a camaraderie that fits the text and Miss Higgins’ direction perfectly.
(Cast members of Hamlet; Photo credit: Evelyn Huynh)
Sara Renee Morris delivers a standout performance as the deeply troubled, emotionally-ridden Ophelia. Miss Morris has a clear journey from first line to beautifully-choreographed suicide, a journey that is effective on its own and in how it impacts Miss Kobori, Miss Piccotto, and Miss Weinstein’s reactions. In a scene-stealing performance, Caitlin Lawrence Papp finds all the funny as Player King and First Clown. These scenes (obviously written for the notable character actors of the time) are in perfect sync with Miss Papp’s knack for delivering Shakespearean language with precise comedic inflection and timbre. Sonya Duffin’s choreography serves as a visually-pleasing complement to Miss Higgins’ staging; whether as a preview for an upcoming scene or a deeper look into what has just happened. Also, Miss Duffin’s choreography is consistently executed with commitment and story-telling intent. Lisa Claybaugh’s costume design is absolutely fierce in setting the steam punk look these women are set in. Miss Weinstein doubles as the hair and makeup designer, and for good reason: the design is flawless. The hair especially is the best hair design I have witnessed in a Shakespearean production, filled with detail and character, elevating the look of the play to a stunning level.
Hamlet will continue its run through September 1st at Sanborn Park, so make your way out for an evening under the stars to check out the fabulous females take on one of Shakespeare’s best.
