Review: Anti-Hamlet, Theatre Works - a podcast by SYN Media

This review contains mature content and language and pretty major spoilers about the show.

Straight up, Anti-Hamlet was one of the best productions I have seen this year. It was absolutely trilling, and so engaging it left me exhausted and unable to get up from my seat, which is always a very special experience that I’ve only felt twice before

I loved it so much that I was it two times in it’s opening weekend, but not only because I loved it, but because it was so complex and intelligent I think I had to see it twice to get a stronger grasp of what it all meant, the first time seeing it was like being a twig thrown into a whirl wind, and coming out the other side with flowers growing all over me, but not knowing how they got there. The second time I saw it, I was able to process the content of the work with a deeper sense of comprehension, which was very rewarding.

That being said, you don’t have to see Mark Wilson’s phenomenal work twice to fully appreciate it as a production. Nor do you have to have a deep understand of William Shakespeare Hamlet, I came to the show not knowing much about Hamlet. My friend I went with gave me a quick recap of story before we were ushered into the theatre. I think knowing Hamlet would be very helpful but not essential, I think having a small knowledge of it would be fine.

Mark and his perfectly picked collaborators took Hamlet, gave it a good shake, tipping out all the language, and political context of the late 1500s, and replaced it with a magnificently crafted contemporary script, filled with references to currently Australian and world politics.

They kept much of the structure of the original Hamlet, but set it in modern Australia, they still called the location they were in Denmark, like in the original Hamlet, but it was very clear that it was a substitute for Australia, I suppose to make it less on the nose.

In this plays reality, Denmark is a constitutional monarchy, a referendum is going to take place, and if passed make it a republic, making Claudius played by Marco Chaippi, the current Prime Minister, the President of Denmark. Claudius seemed to be an amalgamation of Liberal Party leaders. Gertrude was still the Queen and Hamlets mother, played very luxuriously by Natasha Herbert. Hamlet was still the prince, played by Mark Wilson, re-worked to be a Melbourne academic off-the-rails-student-prince, turned anarchist. Ophelia, played by Natascha Flowers was reworked to be a clear headed Rhodes Scholar graduate of Oxford, that works for Claudius in hope to insight social change around the treatment of Asylum Seekers. Horatio, Hamlets friend in the original play played by Marcus McKenzie was still used by name in the play, but he’s character is less of a friend to Hamlet and more of a re-occurring character that helps or interacts with Hamlet, such as a busker Hamlet gives a $5 note to, and a stage manager or Hamlets one man show, Marcus, also plays ‘The Anti-Hamlet”. Two more characters were worked into the show, who replaced characters of the original text. Polonius reworked as Sigmund Freud, played magnificently by Brain Lipson and Laertes reworked as Edward Bernays, played astoundingly by Charles Purcell. Sigmund Freud was played as himself, but as a psychoanalyst for the characters in the play. If I had to choose Edward Bernays was my favorite character, he was a manipulative, powerful 1950’s talkin’ American man who helps Claudius become the president of  Denmark. Like Freud, Bernays was a real historical figure, who basically invented propaganda, and is a very interesting man, look him up.

The ensemble of performers were shockingly good, and just perfectly cast. All the performers had crafted their characters in such an astonishing way, with real depth and meaning.

The set and costume design by Romanie Harper was elaborate, clean and beautiful, the stage was framed with scaffolding with a lusous red curtain around the perimeter. The costumes for each character matched very well, especially Gertrude, who I think, had a different luxurious gown on in every scene.

Amelia Lever Davidsons lighting design beautifully complimented the set, costumes and performances. She created electric atmosphere with her wonderful design.

The sound design by Tom Backhaus was crafted nicely to fit into the show. It worked to the advantage of the dialogue heavy script, and intense aesthetic of the production.  

The story Mark created in his new adaption Anti-Hamlet was so complex and intellectual; I really don’t think I could do justice recounting it. It was beautifully nuanced and at times meta. It had a perfect balance of comedy and seriousness.

Something I really admired about this production was how far the cast and creative team pushed the boundaries. One of the stand out moments in this production was the final scene of the first act, where after being told by Freud that all of Hamlets troubles would be solved if Hamlet had sex with her, Gertrude takes Hamlet into her ‘closet’ and invites him to fuck her. Hamlet succumbs and tries to but can’t get an erection, he tries to masturbate, but can’t. At this point we hear Freud behind the curtain masturbating, Hamlet is filled with rage and naked, runs to Freud, pushes him behind the couch and kills him, covered in blood he screams “I have killed Sigmund Freud!” while holding up his decapitated head wrapped in an Australian flag and then the curtain closes in front of them, I was left dazed and unable to speak.

There is multiple other moment in the play that had this effect on me. The commitment and bravery shown in this play and in this scene in particular are what I love about seeing and making theatre, seeing artists be brave and uncensored in their words and actions is inspiring and beautiful.

Anti-Hamlet presented by Theatre Works and New Working Group is confronting, political, breath taking and thought provoking, New Working Group are shaping up to be one of my favorite theatre groups, the bravery and talent of these artists is incredible and extremely inspiring, particularly for a young theatre maker like myself. Do your self a favor and go see this show, and it runs about 2 and a half hours with intermission, so make sure your well fed before hand. It is now showing at Theatre Works in St Kilda until November 13^th

Written by Ebony Beaton.

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