A Wonderful, Youthful And Concise ‘Hamlet’

To describe a production of “Hamlet” as delightful and charming seems odd, I know -— Shakespeare’s tragic play of betrayal, revenge and madness isn’t usually seen in such a cheerful light. But the 90-minute version being presented outdoors by Shakespeare & Company this summer earns those accolades, among many others.   

The delight comes from the exquisite setting at The Mount, Edith Wharton’s home in Lenox, MA. The hills and forest become part of the set and are used to perfect effect, creating depth and mystery (especially when the ghost appears.) 

The charm is provided by members of the energetic young company, who have done a marvelous job bringing Shakespeare’s words to full and expressive life. Even the most famous and overused phrases don’t sound so familiar when delivered by this group of young pros.

The company has been touring this production for months, mostly for high school audiences, and there were many teens in the audience for this show. The actors chatted with the audience before the show started, and when it was interrupted by an intense thunderstorm, they joined us in the Mount’s stables and entertained us with tales about themselves and the play until the rain ended. The experience created a sense of camaraderie and good cheer -— the audience was even more engaged after the break than before.

To tell the story in only 90 minutes, a number of plot points were excised completely. This version has no Fortinbras, among others. Nine actors play the 19 remaining parts of the main characters. Only the actor playing Hamlet (a superb Luke Reed) doesn’t double or triple up. Greg Boover manages to switch effortlessly back and forth between Polonius and Horatio, playing each with different mannerisms and voice. He captures Polonius’s wit and his pedantry, and Horatio’s sturdy loyalty, with equal panache. As Ophelia, Ally Allen’s light voice sometimes struggled against the elements to be heard, but her mad scene was chilling. Colin Gold (as Claudius and the ghost) and Concetta Russo (as Gertrude and a very funny Gravedigger) were both fine. But Reed was extraordinary, imbuing every word with emotion and intelligence, and his physical power and grace as he strode the stage was impressive.

The sets are as minimal as they get: a few plywood platforms, some curtained arches made of raw lumber, and one chair. But the trees and rolling grounds supplied all the visual interest that was needed. Director Jonathan Croy’s staging was deft, using all the opportunities afforded by the location.

I guess I don’t need a spoiler alert to mention that everyone dies in the end. I wondered if the audience full of teens would start to giggle as the bodies dropped, but the players’ emotion was so true that there was not a titter to be heard. As delivered by the excellent Peter Anderson, the final speech of Laertes, forgiving Hamlet and begging his forgiveness, brought tears to my eyes.  

In the talk-back afterwards, a teen in the audience noted that the streamlined version cut out all the politics and focused on Hamlet’s madness. Boover responded, saying that focusing so tightly on the family makes it more accessible to young people and “hits you right in the feels.”  

As an introduction for young people, or a very enjoyable revisiting for Shakespeare lovers, this fine production does that and much  more. 

I left with more appreciation of the wit, ribaldry, psychological astuteness and, of course, the gorgeous language of the play than I had from many of the lavishly produced theatrical and film versions I’ve seen before.  

If there is “nothing good or bad but thinking makes it so,” I think this “Hamlet” is very, very good.

“Hamlet” runs at The Mount in Lenox, MA, through Aug. 23.  For tickets and information call 413-637-3353 or go to www.shakespeare.org.