THE TRANSATLANTIC MAGAZINE
THE TRANSATLANTIC MAGAZINE
"What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god."
If I had to choose one quote to describe Ian McKellen and Peter Shaufuss's unconventional version of Hamlet, it would be the one above. Powerful emotions, elegant dances, and of course, the powerful presence of Sir Ian McKellen, who first played Hamlet at the Edinburgh King's Theatre in 1971.
The play takes a modern and refreshing approach. The viewers are presented with two versions of Hamlet – the roles are shared between McKellen, who provides the young prince's famous soliloquies, and the dancer Johan Christensen, who delivers a silent but sensual performance of the Dane's tragic bearing. They always move side-by-side, almost shadowing each other, complementing each other's skills and talent.
McKellen's powerful voice gives life to a mix of Hamlet's inner monologues and pain, his voice echoing through Ashton Hall, a new 400-seat venue, pleasuring the ears of the public with the depth of his reciting. And while his voice is still a powerful instrument in telling this classic complex tragedy, his presence on stage is not overwhelming and it gives a fair share of the spotlight to the other actors.
No one else speaks – the whole tragedy is delivered by the Edinburgh Festival Ballet Company in mime, their raw feelings expressed through their facial expressions and elegant dance gestures. Katie Rose gives a spectacular performance of Ophelia, gliding through the stage like a fairy, enchanting the public with her graceful moves and effectively outlining the tragedy of the young woman, so hopelessly in love with the young Danish prince.
The play is devised and choreographed by Peter Schaufuss, a Danish international star who ran the English National Ballet, founded its school and was in charge of Berlin Ballet and the Royal Danish. He now owns St Stephens, and has founded a company called Edinburgh Festival Ballet. He is also an Olivier, Evening Standard, and Edinburgh Critic Award-winning choreographer, teacher, and director and is widely recognized as one of the most talented male dancers on the international stage.
While the aesthetic of the whole performance is a mixture of medieval and modern times, including some questionable fashion choices, it is strangely charming. It almost feels more authentic – a story told mainly by the language of the body and dance, not by boring long monologues. The closing fight is dynamic and powerful, leaving you on the edge of your seat, despite knowing the ending of this famous play.
Eccentric and different, this modern interpretation of Hamlet shows that theatrical stories can be told in many ways. Here is a successful combination of classical ballet, mime, music, and words. It may not be everyone's ‘cup of tea' but is certainly a refreshing and surprisingly compelling way of telling a classic tragedy, which has been played way too many times in the past. It also seems an intriguing way of capturing the attention of the public, by giving the freedom to "feel" the play, not only listen to it.
