Hamlet

The Prince of Denmark is relocated to 20th-century Africa in Simon Godwin's stunning 2016 Stratford-upon-Avon production of the Bard's tragic play, in which Paapa Essiedu became the first black Royal Shakespeare Company actor to take on the title role. Essiedu proves to be a dynamic presence as the man tormented by the death of his father and determined to punish his now-married mother and uncle, whom he believes murdered the king. The actor not only conveys Hamlet's simmering rage but also exudes a sense of youthful bravado and recklessness, along with moments of bleak humor. The main supporting cast—Natalie Simpson as doomed Ophelia, Cyril Nri as her punctilious father Polonius, Tanya Moodie as Queen Gertrude, and Clarence Smith as smoothly solicitous King Claudius—are equally fine, and the smaller roles are all in capable hands. Paul Wills's imaginative design (which plays with the prince's role as an aspiring artist and purveyor of graffiti), coupled with the colorful costumes, add visual flair, while Sola Akingbola's percussive, drum-dominated music helps bring out the underlying violence of the tale, most effectively in the fatal duel between Hamlet and Marcus Griffiths's virile Laertes. Godwin adds a final flourish to his invigorating reimagining of Shakespeare's masterpiece by having Hiran Abeysekera's Horatio issue a howl of anguish immediately after Hamlet's dying words, “The rest is silence.” While the untraditional approach will not be to everyone's taste, this challenging production makes a play that is too often presented as a museum piece feel fresh again. Extras include audio commentary by the director, an interview with Essiedu, and a cast gallery. Highly recommended. Aud: H, C, P. (F. Swietek)