Brandon's performance as Claudius carried a charisma that was cocky, charming, witty, irascible and personable that was a magnetic force that anchored the production. The pathos that Brandon’s performance gives specifically Claudius’s monologue that was akin to a snake shedding its skin. Brandon’s performance allowed the audience to be conflicted. To use an analogy, a friendly gardner snake albeit sly, concealing fangs with dripping poison.

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   Farrow played Laertes with such a protective energy that allowed vengeance and doubt to take root and showcased Farrow’s range as a performer to be both subtle when needed but also a blunt instrument that allowed a naturalistic performance to emanate.

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   Harder’s turn as Marcellus was such a constant throughout the performance as Harder was able to effortlessly switch to song singing as a M.C. during interludes while being the trusted confidante of the family’s inner circle and dynamic. While Harder’s role is minimal, she really was a highlight that was a respite and candy centre for this tragic jawbreaker.

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   Kent as both Barnardo and Guildenstern played both a caviler and rambunctious nature that never felt forced and both characters he played felt distinct.

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   Krug-Iron plays a multiple roles from the Ghost, Hamlet’s father to the Gravedigger. He embodies such a eerie presence during the scenes as the ghost that without dialogue that utilized body performance with precision that was both commanding and powerful. Krug-Iron’s portrayal as the Gravedigger carried a different emotional weight as he crooned “O Death”  an Appalachian folk song song by Ralph Stanley, It was prominently executed and become a staple in the pop culture zeitgeist from the Coen Brother’s 2000 film “O Brother Where Art Thou”. Krug-Iron’s rendition and cover of the song helped make this production memorable.

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   Musa as Horatio evoked such a confidence and intensity that his presence was gripping and captivating whenever he was on stage.

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   Teare’s portrayal as Ophelia was a  revelation in her ability to master the gamete of emotions with nuance, conviction and raw energy that once Ophelia started spiraling it was akin to peeling of an onion and as each layer came off, you felt a piece of her character’s mind body and soul disintegrate that was heartbreaking and guttural. When Teare sang as Ophelia in her final scenes it sparked a wildfire that was relatable to anyone that has witnessed a loved one transform into a shell of themselves.

 

   Williams played dual roles as Francisco and Rosencrantz as was infectious, dynamic and delightful, effortlessly stealing scenes and making the character and the dialogue their own.

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   Finally, Williamson’s performance as Polanius was both hilarious yet embodying a sad clown within and perfectly played a fool that was neither a caricature nor trope. Williamson used both body language and an affectation that stole the show multiple times.

         

   Khoshkam’s direction was pointed and nuanced that allowed a confidence and vision to be present in the background while allowing the actors performances and the script to be the commanding centre. Khoshkam exceptionally utilized the 1920s period allowing the set, costumes to feel of a particular time but also having a naturalistic quality to make the production unique and exciting path forward for the company in the future.

 

  Alyson Cook provided dramaturgical support and allowed Shakespeare’s Hamlet to be feel fresh to tweak and modernize without changing what has made Hamlet endure and be a renowned classic with multiple iterations and interpretations for the last hundred years.

 

  Jensine Emeline’s costume design perfectly balanced the 1920s period and ascetic without distraction that evoked a nostalgic charm, while also not relying on the expectation or stereotypical trope of the period. Emeline’s costumes radiated an unearthed time capsule quality.

 

  The lighting design by Katie Blackburn-Dust flowed perfectly with the production.

 

  The sound design by Nathan Howe fit the mood and tempo that this particular iteration was trying to achieve. The sound would change depending on the scenes and really fostered the atmosphere.

           

  The set design by Ken MacKenzie was minimalistic and captured the period while not deviating from the performances and direction.

 

  Additionally, Ricardo Alvardo as production stage manager, Aaron Shingoose, Herb Clarke as dance consultant, Daniel Ford Beavis and Kenn McLeod were all essential cogs in this particular machine that brought everything together.

 

  Whether you’re familiar with Hamlet or Shakespeare’s body of work or theatre, this iteration of Hamlet is truly something special. It is marvelously directed by Koshkam who brings a strong vision and sensibility that creates an unforgettable ascetic and ambience. The direction is only amplified by the phenomenal performances of the ensemble.

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  Hamlet is playing at Shakespeare on the Saskatchewan and runs from July 5 to August 25 2024. Tickets can be purchased online or at the box office.