Displaying items by tag: Rory Alexander

“Hamnet,” a stage play adapted by Lolita Chakrabati (known for Life of PI and Red Velvet), and directed by Erica Whyman is in its U.S. debut at Chicago Shakespeare Theater on Navy Pier. This production originated and performed by the Royal Shakespeare Company for its U.S. tour, has generated a lot of excitement, heightened further by the many Oscar nominations for a film by the same title, though it is a very different adaptation of the same book.

Both were drawn from Maggie O’Farrell’s best-selling novel “Hamnet: A Novel of the Plague” speculating on the life of William Shakespeare and his wife and family. The story line delves into the family life of the couple, the first act devoted to William and Agne’s birth families and their love affair and eventual marriage.

The second half revolves around their children, and traces Shakespeare’s ascendancy into the upper echelons of English theater. He draws the attention of the queen, is celebrated on the stage in London for his prolific stage works and his published poetry.

We meet actors Burbage and Kempe. Bert Seymour and Nigel Barrett, who play other roles too, are excellent as the real historic actors who were the definitive contemporary interpreters of Shakespeare’s scripts on stage. (Chicagoans who saw “The Book of Will"  had a thorough introduction in that rendering of the development of the First Folio in the years following Shakespeare’s death.)

At “Hamnet” on Navy Pier, though, there are a few problems with the production that detract from the interesting story. Like “Shakespeare in Love,” which generated a fictional hypothesis about a love affair that inspired the Bard to pen “Romeo and Juliet,” in “Hamnet” it is the death of Shakespeare’s son, Hamnet, that is posited to have fed the emotional plane of “Hamlet.” And that is an intriguing theory, drawn from the book.

Saffron Dey as Judith and Ajani Cabey as Hamnet

“Hamnet” dutifully recounts the marriage of Agnes (she is generally known to us as Anne but historically she was Agnes) and William, she 26 and pregnant, and he just 18. The first child Susanna (Ave Hinds-Jones) was born a few months later, and a few years hence twins—Judith (Saffron Day) and Hamnet (Ajani Cabey)— sprang forth. Historically Hamnet died in 1596; four years later “Hamlet” hits the stage.

The book and play adjust this time frame, to have Shakespeare at work on the debut of “Hamlet” as his son contracts an illness and dies. That’s reasonable creative license, especially in the interest of drama. (Harper's Magazine offers an excellent contrast of the history as it's adapted for "Hamnet.") And the performances are quite excellent. Agnes (Kemi-Bo Jacobs) gives us an intense performance of a character devised to explain her genius husband’s attraction, and perhaps his inspiration by her. William (Rory Alexander is excellent throughout), though the script forces an unlikely maturity at just 18 as he coaches and counsels Agnes toward their marital fate.

What was jarring was the fact that all the actors wear microphones, with a uniformity of volume set by the mixing board, presumably, that is unnatural, especially for Shakespeare. The unfortunate effect was an echo chamber, in Chicago Shakespeare's handsome The Yard which simulates the interior of the original Globe. Also two screens at either side of the stage provided subtitles, which are quickly explained by the diversity of English dialects used by the actors. Some would be unintelligible to American ears without them—but I found myself reading, at the expense of watching the action center stage. Perhaps supratitles as used in opera would have been better.

And it’s probably necessary to comment on the incidental and transitional music, composed by Oğuz Kaplangi. Some pieces were quite lovely, evocations of the late 16th century. But fast-paced scene change music, sometimes with a Latin beat, was overbearing, and the percussion especially excessive. Was it compensating for the slow pace of what was on stage?

And for a play about Shakespeare, why did we hear so little from the subject's original work? The excellence of “Shakespeare in Love” was the celebration and display of many slices from his actual writing that advanced the case for its explanation of the origins of “Romeo & Juliet.” In this Royal Shakespeare company’s “Hamnet,” we’re given just a tiny bit at the end, as Agnes witnesses the play for the first time, a scene meant to tie up and resolve all the loose ends. They loved this in London’s West End, but in Chicago it's just not enough. See if you agree. “Hamnet” runs through March 8 at Chicago Shakespeare Theater on Navy Pier.

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