The ravishing dance theater collaboration “The Tragedy of Hamlet: Prince of Denmark” made its
U.S. debut at the Harris Theater Chicago Nov. 23 – 24. Two years in the making, the production
was co-created by Robert LePage and choreographer Guillaume Côté, who also danced the
role of Hamlet.
Shakespeare’s “Hamlet” lends itself spectacularly well to an evening length dance. The famous
soliloquies –– in which the Prince works out his dilemmas philosophically –– are translated to
passionate dance vignettes. The production’s moody original music, rich fabric-scapes and
inventive array of theatrical techniques showcase the creative team’s lavish attention to detail in
every aspect of the show.
From the exquisite shade of salmon in Ophelia’s ruffle-necked, translucent gown to the
shimmering body-hugging attire worn by the Royal family, the costumes allowed the dancers to
move like a dream and provided well-defined silhouettes for the shadowy visions disturbing
Hamlet’s father from resting in his tomb.
Some knowledge of the play is useful in appreciating the emotional subtext of the dances – but
one of the production’s greatest achievements is the arresting freshness it brings to Hamlet’s
most recognizable moments.
Shakespeare’s text is used sparingly as projections between vignettes. The words appear and
then cleverly reassemble, for example as when Hamlet’s quotation “Words. Words. Words”
morphs into “Swords. Swords. Swords.”
The roles of Ophelia and Queen Gertrude are enhanced and deepened in this adaptation. Each
have new opportunities to express their inner conflict and perspective through sinuous,
punctuated solos and duets with Hamlet and the other principal characters.
The duels between Hamlet and Laertes’ are thrillingly staged. The fight at Ophelia’s open grave
is especially shocking and compelling as both lover and brother alternately seize Ophelia’s
corpse in masterfully frantic and passive pas de deux.
Ophelia’s drowning scene is a theatrical coup. Her mad scene starts as a solo, with her person
fragmented by a series of oblong mirrors. She recalls the series of grim interactions that have
led to her unraveling. Overcome by despair, she eventually yields to powerful waves in a jaw-
dropping sequence of invisible partnering.
There are too many arresting and creatively devised moments to recount. Suffice it to say this
Hamlet is a gorgeous feast for the senses. On opening night, the audience’s enduring applause
brought the performers out again and again to take their bows at curtain call.
Here’s hoping the artists will allow for a filmed theatrical release that will make repeat viewing
possible and preserve this exquisite production for future audiences.
Robert LePage and Guillaume Côté’s “The Tragedy of Hamlet: Prince of Denmark” was
presented at the Harris Theater Millennium Park for a limited three performances engagement
on Nov. 23 and 24. More information is available at www.harristheaterchicago.org.
Photo credit: Stéphane Bourgeois
For more reviews go to https://www.theatreinchicago.com
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