Theater Online - New York Theater Reviews

In Shakespeare's "Hamlet" there are a good many things "rotten in the state of Denmark." Pleasurably, Take Wings and Soar's present Off Off Broadway production astutely conveys the regal circumstances confounding a noble prince, compelled to avenge his father's death, with the utmost dignity, insight and downright good theater craft.

The stage is not very large at The Workshop Theater, but the creative energies of the company utilize that to advantage, creating a wonderful intimacy utilizing a simple set design (Bob Dutiel's moveable platform with arras, two insignia standards and a few chairs) with enhancing lighting (Seán Linehan) and evocative sound elements (David D. Wright). The costuming by Ali Turns is 19th century and at times oddly WWI military, but the action of the drama is timeless.

The "play's the thing" here as director Elizabeth Swain adeptly creates a straight-ahead (somewhat augmented, under 3 hours) rendition of the Bard's masterpiece—no lunatic-minded or Oedipal-burdened Hamlet here. In addition, a mostly outstanding cast also delivers several satisfying surprises.

Timothy D. Stickney's Hamlet is all of the many things Hamlet is supposed to be—noble, intelligent, impassioned, troubled—but he is also charismatic and admirable. He's the kind of guy who could be a likeable, down-to-earth big man on campus. Stickney, with a sincere and well used smile, is also able to convey a quality of the prince not often characterized—liking to be happy. Another considerable achievement is his ability to have those famous, almost waited- for, soliloquies blend seamlessly into the context of the play, no small accomplishment. An equally brilliant and distinctive performance is turned by Seth Duerr as Claudius. Even as the bad guy, he has the demeanor and charm of a likeable uncle who has morally gone astray.

His portrayal of Claudius' confession is superbly rendered by making it both humorous and compelling. On the other hand, Petronia Paley's Queen Gertrude displays a good deal of emotion but rarely unveiled, for me, the real woman stirring her behavior, and Dathan B. Williams as Ghost serves the plot purposes of the play but his militaristic stiff-legged marching on the ramparts and his posh bedroom attire in Gertrude's closet are incongruous.

Additional performance highlights in this overall commendable evening are Arthur French (Polonius/Gravedigger) lending his roles comic sensibility as well as addressing their philosophical implications, affable Mary E. Hodges (Ophelia) evoking compassion and sympathy, the Players fine enactment of "The Murder of Gonzago" and the exciting final scene with a rousing duel sequence between Hamlet and Laertes (David Heron, often affecting but heavily accented).

The performance I attended was preceded by a the presentation of the Take Wings and Soar Spirit of Excellence Pioneer Award to Earle Hyman (veteran classic actor, probably more recognized as Dr. Huckstable's dad on "The Cosby Show") for his "passion, commitment, strength and endurance" as a classically trained artist of color who paved the way for others. In his acceptance remarks he spoke of playing Hamlet at Howard University as an undergraduate. I have no doubt that production was unique and universal as is the one playing in a small theater on the 4th floor of a building on 36th Street.