"On balance, this is an excellent production—it enriches and unpacks the well-known story in some clever and very effective ways. There are always challenges in taking on this particular play—not least of them being that those who know their Bard, know this play very well—and so there is always the risk of assaulting someone’s long-held notion of what Hamlet needs to say. However, that it has so much to say is of course what makes it appealing to perform and I am happy to report that on this basis, finding and exploring new and interesting little nuggets of insight and meaning, Kelly Wilson has succeeded, establishing ATC as a company to watch for its daring and flair." Cameron Hindrum

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Cast:

Hamlet, Gertrude’s son, sole heir to family empire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Aaron Beck

Ophelia, Polonius' daughter and Hamlet’s girlfriend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Laura Eastley 

Claudius, Hamlet's uncle, Hamlet Sr.’s youngest brother . . . . . . . . . . . . . . . . . . . . . . . . Christopher Bryg

Gertrude, married to Claudius, widow of Hamlet Sr. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Kerri Gay

Polonius, corporate lawyer for Hamlet family business . . . . . . . . . . . . . . . . . . . . . . . . . . .Darren Royston 

Laertes, Polonius' son and Ophelia's brother . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Robbie Bleakley

Hamlet Senior, Hamlet’s deceased father . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Christopher Bryg

Guest, Player and Funeral Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Natalie Gaffney

Understudy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Nathaniel Wood

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Artistic/Technical Roles: 

Original Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fiontan Cassidy 

                                                                                                                                                           Karlin Love

Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel Story

Fight Choreography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robbie Bleakley

Piano Accompaniment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ben Austin

Set Design and Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Kelly Wilson

Set Construction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sean Wilson

Lighting Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark Smith

Lighting/Sound Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sean Wilson

Production Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eliza White

Promotional Filming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Josh Langley

                                                                                                                                                     Nicholas Pesch

Poster Design and Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Tassou Amerikanos

Publicity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Kelly Wilson

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Directorial Interpretation:

Although this contemporary adaptation of Hamlet retains William Shakespeare’s original text, the script has been edited heavily in order to create a more intimate examination of the main conflict caused by the murder of Hamlet’s father, which impacts the families of both Hamlet and Polonius. With this focus in mind, many characters have been cut entirely from the script or combined with the characters that still remain, resulting in a production with six main characters and one supporting ensemble actor, estimated to run for about two and a half hours, including an intermission.

 

Two aspects of this particular adaptation of Hamlet make it unique to other productions. First, Ophelia’s character has been greatly expanded and placed firmly in the 21st century through the incorporation of lines from Horatio, Rosencrantz, Guildenstern and even Hamlet. Ophelia’s ability to love deeply and faithfully make her an honourable character, yet her actions often fall flat if the play is set in the modern era. Some women have difficulty understanding and relating to Ophelia because she is a product of the late 16th century society in which she was created. Ophelia serves as a reminder of the plight of women during the Renaissance, lest we forget the courage of the women and men who fought for the rights that women have today. However, there is something to be gained from placing Ophelia in a contemporary social context, on equal ground with her boyfriend, Hamlet. Through this adaptation, Wilson attempts to create an interpretation of Ophelia which retains the original source of her core strength, her profound loyalty to those she loves, and portray it in a manner that reveals the tragedy that can result from these strengths in the modern era.

 

This production also examines society’s growing obsession with revenge. The tragedy of Hamlet is produced not by a desire for justice, but a pursuit of vengeance, spurred on by Hamlet’s own father from beyond the grave, a deadly inheritance passed down from one generation to the next. The parallels between the dramatic action of this play and the rise of terrorism and murder rates in the world today will provoke reflection and present a possible antidote to our fixation on revenge, which is not only destructive to the individual, but to society as well.