Review: I Hate Hamlet at Dundalk Community Theatre

By Jason Crawford Samios-Uy
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Running Time: 2 hours with one 15-minute intermission
Some of the Baltimore theatre community are going through “A Year of Shakespeare,” producing the Great Bard’s plays or works based on his writing. Dundalk Community Theatre’s latest piece, I Hate Hamlet by Paul Rudnick, Directed by Tom Colonna, with Set Design by Marc W. Smith, and Costume Design by James J. Fasching and Eva Grove is just right if you’re looking for a piece that’s not too heavy but has enough substance to help you learn a little something about a legendary actor of stage and screen and Hamlet, the play by William Shakespeare.
I Hate Hamlet is set John Barrymore’s actual New York City apartment and focuses on Andrew Rally, a successful television actor who is on the horns of a dilemma as he takes on the dream role of Hamlet. All the while, he’s struggling with a girlfriend who’s not budging on her chastity. The ghost of John Barrymore shows up only to convince Rally he’s good enough for the role of Hamlet and can’t go back to the other side until he does. Just as Barrymore has convinced Andrew he’s worthy of the role, his West Coast director friend shows up offering a role in a television pilot and a hefty salary and guaranteed fame to go along with it. Which will he choose? Shakespeare, which arguably makes him a real actor and a project his girlfriend loves, or TV, where he can have fame and fortune?
This is a bit of a biographical play as it gives you a little insight into the life of actor John Barrymore and how he felt about the role of Hamlet and, as a bonus, it explains the character of Hamlet a little to give us a better understanding of the poor fellow who asks the age old question of “to be or not to be.”
Set Design from Marc W. Smith is, in a word, stunning. Smith, who has been designing for the Dundalk Community Stage for many years, absolutely knows every square inch of his stage like the back of his hand and his designs express his knowledge. The authenticity shines through in this set and his use of levels and matching just the right set piece or piece of furniture to compliment the piece is superb and his attention to detail makes for impressive, thoughtful work.
Costume Design by James J. Fasching and Eva Grove is subtle but appropriate for the “living” cast and each character has his or her own unique look from the flashy New York real estate agent to the quirky girlfriend, to the West Coast director, and even John Barrymore himself, who happens to be in costume for Hamlet. Fasching and Grove do a fantastic job costuming these characters with a well thought-out, unassuming wardrobe that the actors seem to be comfortable wearing.
Director Tom Colonna looks to have taken the traditional route with this production (though there’s not really an alternative to the traditional) and he keeps the story moving along. His vision is a bit dicey as I couldn’t decipher if this show is about Andrew, the rising star or John Barrymore, the legendary star, but either way, the simple message of “believe in yourself” is somewhat clear, if you look close enough. The casting is a bit curious as the balance between Thomas “Toby” Hessenaauer’s confident performance as John Barrymore and Charlie Lidard’s shaky performance as Andrew heavily teeters on the uneven. Just as the pairing of Jennifer Skarzinski’s brilliant and funny portrayal of Felicia to Phil Vannoorbeeck’s inconsistent attempt at Gary. Overall, Colonna does a good job moving the story along, but some of the jokes (or what I think are jokes) are glazed over. For instance, since there’s a supernatural theme to this piece a lot of sound effects were used to portray supernatural happenings, like when a character feels a cold chill that is Barrymore standing behind them waving his hand around the back of their neck. Aside from looking a little corny, the actor’s reactions weren’t big enough and the bit kind of just fell to the wayside. It’s a quirky piece, as it is and a challenge for any director so aside from some minor casting choices, Colonna does admirable job with the piece, in general.
The small ensemble of this piece work very well together and are natural enough to be believable. The characters are individuals and the actors do a great job tackling their roles, overall.
Phil Vannoorbeeck as takes on the role of Gary, the fast talking West Coast director. Now, I think I see what Vannoorbeeck was going for, and he gives 100% to his performance, but it just falls a little flat for me. He seems to overcompensate the carefree personality of his character and comes off as unauthentic. There are times when he keeps the pace up and then he falters and slows down to be not so fast talking. He might want to work on his consistency throughout the piece because he goes from being likable to be a complete ass and I’m not sure whether to grab him by the scruff of the neck and throw him out for being an ass or go and have a beer with him! However, that’s not to say Vannoorbeeck didn’t do a good job because his performance was quite appropriate and like I stated, he gives a great effort and works well with his fellow ensemble members.
Charlie Lidard takes on the role of Andrew, the up and coming television star who, whether he likes it or not, is getting help from the ghost of the legendary John Barrymore. All in all, Lidard does a great job with this role, but he just couldn’t keep my interest for very long. He has a great look for the part but seems scripted and unnatural at times. He works well with his cast mates and his chemistry with them (especially Morgan and Hessenauer) is giving his all, which is absolutely commendable, but perhaps it’s just a weak written character.
Tackling the role of sweet Deidre, the flighty good-natured, naïve girlfriend who holds tightly to her chastity, driving her boyfriend crazy is Emily Morgan. Morgan shines in this role. She plays the role with an authentic sweetness that it almost gives you diabetes and her confidence allows her to make good character choices. She’s comfortable and she gives the character just enough whispiness mixed with compassion to give an authentic, entertaining performance.
Regina Rose as Lillian, the elderly, wise agent to Andrew plays this character very well. Rose’s accent is spot on and fits the character perfectly and she understands the comedy of this piece and her character, not taking it too seriously. She gives a strong, confident performance with a good command of the stage and it’s a joy to watch.
As Felicia, the New York real estate agent, Jennifer Skarzinski is an absolute and undoubted highlight in this piece. She has a fantastic sense of comedy and her timing is on point, every time! Even though a couple of her great one-liners fell on deaf audience ears, she kept it going strong and didn’t falter once. Her stereotypical “New York” accent was spot on and worked well for the character add to the authenticity. Skarzinski gives a natural and comfortable performance giving 110% effort making for an absolutely superb performance.
Thomas “Toby” Hessenauer as the late, great John Barrymore is a standout in this production. He has a great command of the stage, a great comedic timing, and has a clear and bold voice adding to his near flawless performance. Tackling a biographical role has its own set of challenges but Hessenauer, a Baltimore theatre veteran, seems to really understand John Barrymore and is comfortable in this role, giving an excellent performance.
Final thought…I Hate Hamlet at Dundalk Community Theatre is a light, fluffy piece that doesn’t seem to have much of a message (that I took away) other than, perhaps, the cliché of “have faith in yourself and you can do things beyond what you think you can do” but it is a well-presented and, for the most part, well performed piece that has some great one-liners and moves along nicely. Whether you’re unfamiliar with John Barrymore and the work of William Shakespeare or a fan, you’ll enjoy this piece as touches on not only Barrymore’s professional life, but his private, personal side, also, and gives a little insight to this legendary actor, as well as enlightening the audience on the character Hamlet and the play in general.
This is what I thought of Dundalk Community Theatre’s production of I Hate Hamlet… What did you think? Please feel free to leave a comment!
I Hate Hamlet will play through March 5 at Dundalk Community Theatre, 7200 Sollers Point Road, Baltimore, MD. For Tickets, call the box office at 410-840-ARTS (2787) or purchase them online.
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Review: Halmet Lost/Found at CCBC Academic Theatre

By Jason Crawford Samios-Uy

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Running Time: 1 hour and 30 minutes with no intermission

It’s interesting to think that a play that is over 400 years old can still be relevant today but, most of The Great Bard’s stories are timeless and still quite relevant in the 21st century. Hamlet Lost/Found, Directed by Julie Lewis with Set and Lighting Design by Moe Conn, Costume Design by James Fasching, and Original Music Composition by Daniel Lewis is currently playing at CCBC Academic Theatre on the Catonsville campus is not only relevant, but is updated just enough to easily understand the story of guilt, betrayal, revenge, and unmitigated human nature.

In academic theatre, students are learning and teachers are teaching, but sometimes we forget how talented these students and teachers actually are. Walking into the Center for the Arts Theatre on the Catonsville campus of CCBC, I was treated to a well-thought out, well-designed set by Set Designer Moe Conn. The different levels kept the set interesting and the black and white and modern motif kept it simple, yet elegant. The surprising transition of the set, opening up for a larger stage, keeps the story moving and intriguing for the audience. Conn uses his space wisely and adds value to this updated version.

[youtube https://www.youtube.com/watch?v=NdbS2j0wJUw&w=560&h=315]

 

To go along with Set Design, Conn took on the responsibilities of Lighting Designer, as well, and his design is absolutely appropriate and sets the mood for each scene. In the adapted, more updated portion of the story, Conn’s lighting of the “night club” is authentic, fun, and just enough, adding to the story rather than making it a spectacle. Kudos to Conn for his work on Set Design and Lighting Design.

Costume Design by James Fasching is brilliant, matching the set with a black and white and modern style. His choices for each character is very appropriate and quite fashionable and the all of his actors seem very comfortable in their wardrobe. Since this is not a traditional mounting of this story, Fasching has managed a chic and elegant Costume Design that is well thought-out and fits nicely with the piece.

Music has always played a key role in Shakespearian productions and for this production, Daniel Lewis was charged with composing original pieces and he knocks it out of the park. His compositions are contemporary, fun, and complex, yet very appropriate for this updated version and quite enjoyable to hear. All of the pieces are placed nicely in the piece and add great value to this production.

Shakespeare can be challenging, even if one is familiar, so every now and then, a piece is updated for a contemporary audience and updating and adapting can be a little tricky, too. Director Julie Lewis, Tatiana Fish, and the ensemble, however, do a superb job with the adaptation of this piece. The first half of this production is presented with traditional text and the second half is performed with the adaptation. First and foremost, this careful adaptation makes it easier to understand the story and throws a bit of humor into this tragedy making it more accessible to a contemporary audience. Lewis also keeps her actors moving on stage giving the piece a nice tempo and flow. Her casting of these complex characters is very good and, at times, non traditional, making for a riveting production. Lewis clearly has a deep understanding of this timeless story and her vision is apparent, relating to current times and ideologies. Major kudos to Julie Lewis on a job well done.

Aside from the outstanding production aspect of this piece, the performances are also commendable and the ensemble is on point in telling this story. All of the members of the cast worked well together and had a great chemistry. Together, they created an entertaining, polished piece of which they should be proud.

A few honorable mentions go to Tirrell Bethel as the King Hamlet’s Ghost, Lloyd Ekpe as Claudius, Molly Prunty as Guildenstern, and Randi Seepersad as Rosencrantz. Bethel exudes just the correct amount of creepiness as he dictates the actions of his son from the dead while Ekpe plays the sly, cunning uncle and replacement of King Hamlet with the appropriate amount of sleaziness and guilt for his deplorable actions. Prunty and Seepersad work well together as Guildenstern and Rosencrantz, respectively, the hesitant spies and friends of Hamlet. The chemistry of these two actresses and the humor they express in the roles make them a joy to watch. Overall, the entire ensemble did a stellar job presenting this story.

A few standouts are Alajandro Mendez as Hamlet, Elizabeth Armour as Palonia (usually Palonius), Jake, Urtes as Horatio, and Ja’min Williams as Laertes.

Alajandro Mendez’s Hamlet is filled with emotion and tragedy and he seems to understand the inner turmoil and rage of his character. He is comfortable on stage and has a great presence making for a very good performance.

Elizabeth Armour is a very confident actress, portraying Palonia as the social climber she is but playing it with grace and dignity. She a character you love to hate which goes to show how accurate her performance is in this production.

As Horatio, Jake Urtes is certainly one of the highlights of this production. He’s very natural and tackles the Shakespearian text with ease and a comfortable rhythm. He’s easy to understand and he seems to grasp his character and plays him with the loyalty to Hamlet that is required. He’s confident and comfortable and gives a very strong, entertaining performance.

Another highlight is Ja’min Williams as Laret
es (and an Actor) and he, too, is very comfortable and confident in this role and finds his rhythm easily. His portrayal of Laretes and an Actor is authentic and natural and he is a joy to watch. He moves with purpose and gives a powerful performance.

Final thought… as each year passes, Shakespeare can be a tough pill to swallow. However, CCBC Academic Theatre’s production of Hamlet Lost/Found gives you a half and half – half traditional text and half updated and modernized text making it much easier for a contemporary audience follow the tragic story. The adaptation is a win and if you are familiar with Shakespeare’s Hamlet, you will not be deterred and if you are unfamiliar, this production will give you a better understanding of this popular tragedy.

That’s what I though of Hamlet Lost/Found. What did you think? I’d love to hear it! Feel free to leave a comment!

Hamlet Lost/Found will play through November 7 at The Community College of Baltimore County, Catonsville Campus, Center for the Arts Theatre. For tickets, call the box office at 443-840- ARTS (2787) or purchase them online.