Among the recent Hamlets, there are two reasons, Kunesh Jumbo (“The Good Fight”) is right with Benedict Cumberbatch and Ian McKellen. Like those two actors, the jumbo stage has the stunning comfort of being “Hamlet’s” magnetic, bright center. But desperately, like Cumberbatch and McClellan, the actor is caught in a tasteless, shameless production and looted his full power in the role.
Encouraged by Jonathan Livingstone’s Horatio to witness the ghost, the first appearance of the jumbo is instantly designer Anna Fleischer’s still, strangely colorless stage picture rectangular, stigmatized mirror column that occasionally revolves around a dimly lit, mostly dark spot.
Wearing jeans and curly hair, Jumbo looks young without ever playing the “youth” card. His perseverance ignites every scene of his.
As she portrayed as Kate in her “The Taming of the Shrew” for Mark Anthony and Park’s Shakespeare in Philida Lloyd’s all-female “Julius Caesar”, Shakespeare’s language symbolizes her intellectual fortitude and embodiment that it is not just a line of meaning. He makes it clear that this is the dramatic motive behind it. He is always thoughtful, but only aroused in dire need. His Hamlet is unusually strong on self-loathing and acts at a fast pace of thought, which makes his character’s expressive desires abnormally dynamic এত so much so that whenever he’s off-stage the temperature drops, which in this play, please, is rare.
His impressive dynamics will be reflected by the rest of the company. The last time a large British company cut the text was in 1 un2 when Adrian Nobel gave Kenneth Branna about five hours to walk in the Royal Shakespeare Company. Director Greg Hersov speeds up the process by editing his writing, which undermines the broader political perspective in favor of Fortinbras’ family (wrong) fate and the tense dynamics between Hamlet and the court.
It is particularly successful with Polonius and his children. Joseph Marcel’s surprisingly satisfied Polonius is funny and Jonathan Ajay has an interesting clarity in his dealings with the fierce Lartes. And as her daughter, Nora Lopez Holden stopped the rare coup of understanding the character’s underlying trajectory. His character with an unexpectedly annoying rage not only makes him sad instead of sad but also allows him to move on properly.
Elsewhere, however, actors take so much time and so much intent that speed is lost. In almost every bit of text, Harsov seems to encourage them to take two. But although the purpose is for clarity, slowness is not necessarily more obvious. Instead, the production turns the play into one, as they lack the emphasis in Fitzgerald’s Gertrude, who reveals Ophelia’s death until she is touched. Similarly, although Adrian Dunbar carefully avoids the trap of playing Claudius, apparently manipulative, his extra patient performance causes little excitement.
Hersov takes occasional strains for contemporary resonance: there is a machine gun for the guards, Rosenkrantz and Gildenstern dancing around taking selfies, and play-in-a-play using a stage mixing deck. But it also has a payoff, at least the knives don’t replace the sword for a deadly finish. Yet that final sequence, not exciting enough, also points to Harsov’s weakness, including physical staging. At the beginning of the production, for example, the director gives us no real idea of where Polonius is hiding so that his sudden death is not so strongly registered. Similarly, when the stunned Lartes confronts his sister who has lost his mind, Ajayi was stuck so the atmosphere was created far away.
For the enduring interest of a female actor in the character of Hamlet – who has been played by women since 1411 – the biggest compliment to Jumbo is that she is as confident as the character, her gender instantly becoming irrelevant. Four performances are being streamed live and in a play where his character spends so much time in soliloquy, his acting is likely to be easily registered on camera. All of which proves that, at the risk of opposing Shakespeare, in this case, the player’s thing.