Canberra Reviews

Mention Hamlet and thoughts may fuzz back to slumberly high school Shakespeare lessons of hey-nonny-nonnying, thinking ‘I just don’t get it’. Or instead, your eyes sparkle with an inner glow for the love of words that flow from any actor’s lips should Shakespeare be thy poison. Whether you love or hate Shakespeare’s drama, everyone can enjoy I Hate Hamlet.

In two hours, this comedy gives an insight into life as an actor, and life in general - to be or not to be…a television ‘hacktor’ or a real artiste. A cast with chemistry and a well-polished production mean a seamless sit-back-and-enjoy experience that involves personal angst, sexual frustration, a kick-ass sword fight and some really bad acting - but don’t worry, that’s on purpose.

Opening night was a full house at Canberra Repertory’s Theatre 3 - mostly the over 40s crowd. Though, as word spreads that this is NOT ‘thou thine and what doest’ theatre, younger generations also will embrace what director Robert de Fries alludes as a kind of sitcom.

The play opens with handsome LA TV show actor Andrew ‘Andy’ Rally (Glenn Brown) inspecting his new apartment with broker Felicia (Litonya Shallcross) who nasally notes to him that twenties actor John Barrymore - yes, Drew Barrymore’s grandfather - previously lived there. As visitors arrive, we find out from doyenne agent Lillian (Fay Butcher) that Andy has been offered the part of Hamlet in the renowned New York Shakespeare in the Park, much to the delight of Andy’s 29-year-old virgin girlfriend, Deirdre (Carmen King). A séance ensues and the ghost of John Barrymore becomes Andrew’s mentor: to play Hamlet even when tempted to return to LA by TV-leech/friend Gary (Scott Cummings). Will Andy play Hamlet, and if he does, will he be any good? Will he get the girl? Will Barrymore make peace with his own tortured past? While the answers are revealed, we enjoy the poking of fun at acting - from how to do an actor’s warm up; spill out a soliloquy and accept audience applause or disdain.

The script was written by Paul Rudnick and was first played in Broadway, New York in 1991 with much controversy between the two male leads - involving real on-stage violence. If it’s all sounding a bit too ‘Jerry Springer’, never fear. While there are some references to American life that may escape Australian audience comprehension, director de Fries ensures that the pauses suit places where Aussies would laugh more. Indeed, he has picked up on each actor’s strengths and translated them into what the audience would appreciate - a gesture, a stance, and balanced exaggerations.

Playing as much of a role as any speaking part is the set design and lighting. With only John Barrymore’s lounge room for the entire performance, it had to be good - and the design by Andrew Kay ensured that straight away the tone of each scene was clear, from the romantic staircase to the roof, to the throne.  Yes, a throne. Typical of Barrymore even if you’ve never heard of him, Ian Croker brings life to the Errol-Flynn-like bad boy of the twenties; you gotta be a real man to ‘pull it off’ in tights. And he exudes the ‘come into my den’ of Sean Connery, the mere touch of his hand, the lingering glance to make a woman feel she is the only one in the room. Croker plays both serious and comic, dry wit and demonstrates masterly frustration with his protégé.

As Andy, Glenn Brown captured the angst of an actor and had the depth to show the transition from unsure ‘chipmunky’ b-grade celebrity to confident tights-wearing Hamlet. The connection between he and Carmen King’s Deirdre seemed very realistic, as King was both intentionally funny and annoying and radiated a bubble of naiveté.

Almost the complete opposite is kitschy vixen Litonya Shallcross as Felicia, the supporting actor we all need to make us smile by mere presence. She was very richly vain, coquettish and crude all at once, a bit like TV sitcom The Nanny’s Fran Drescher.

Scott Cummings played the wassssup hyphenated ‘friend’ - as in writer-director-producer. His upper-fuelled presence prowled about the stage like an impatient ape.

Another contrasted and well-executed character was Fay Butcher as Andy’s agent Lillian, whose sparkle shone through with zat German accent, and perfect comic delivery.

Overall the pace of the play was steady in peaks and troughs, absolutely climaxing in the first act with the masterful swordplay choreography by Thompson Quan Wing.

Time spent at I Hate Hamlet is a worthy investment in giggles, musings and appreciation for the craft of theatre acting. Thar be no shuffling of feet, nor stifled yawns - there’s enough action and winsome wit to wish theatre could always be this good.


Canberra Rep presents
I Hate Hamlet
by Paul Rudnick

Directed by Rob de Fries

Venue: Theatre 3 | Ellery Crescent Acton
Dates: 20 February - 14 March
Bookings: 6257 1950
Visit: http://www.canberrarep.org.au