HAMLET
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But Footsteps Theatre’s all-female production of Hamlet has avoided this problem. The cast–speaking in their natural vocal ranges, with their body contours evident–quickly take on the intellectual neutrality of characters, i.e. representations in dramatic form of philosophical concepts far removed from mundane gender differences and sophomoric Freudianisms. One may, I suppose, attribute special insights and nuances to old words spoken in new voices, but Footsteps also graciously permits one the option of not doing so.
Footsteps’ production has plenty of originality without calling attention to its performers. Director Deya Friedman has chosen to emphasize the generational conflicts of this most dysfunctional of royal families, making it a sort of “Hamlet N the Hood.” The authority figures–dominating Claudius, passive Gertrude, dithering Polonius–are presented as irresponsible parents, too absorbed in their own selfish interests to take note of their offspring’s distress. Hamlet’s sidekicks–Horatio the bookworm, Laertes the jock, Ophelia the babe, Rosencrance and Guildensterne the class clowns–are extreme in their emotions and actions, inexperienced in the hypocrisy and rationalization their elders practice so skillfully. Hamlet emerges as a youth caught between loyalty to the memory of his real father and acceptance of a stepfather who has usurped the patriarchal position.
