HAMLET reviews

Review from THE BURBANK LEADER by Dink O' Neal on July 11, 2008.

Offering an unusual conceptualization of an ageless classic, the Gangbusters Theatre Company's version of "Hamlet," playing at the Little Victory Theatre in Burbank, is engaging and thought-provoking.

Realizing a longtime goal of exploring Shakespeare's classic through the title character's spiraling insanity, director D.D. Thomas has set the play in a seedy mental ward.

In doing so, Thomas creates an intriguing atmosphere wherein each actor represents a character from Shakespeare's original script as well as portraying either a patient or medical staff member.

Now, some may find the modern-day surroundings and costuming occasionally distracting, but the strength of Thomas' production, his perfectly cast leading players, is without a doubt the production's strongest asset.

Christian Levatino, previously seen in the Gangbusters' stunning production of "Tracers," is spine-tingling in the title role. So often, Hamlet mopes his way through the bard's language, coming alive only within the final scenes. Not so with Levatino's depiction of the "melancholy Dane."

His is a militant rebel bent on vengeance for the overthrow and death of his father, the former king of Denmark. Capitalizing on the show's setting, Levatino's Hamlet is unpredictable, displaying a schizophrenic and simmering temper that erupts with barely a warning. It's a muscular performance that keeps one on the edge of their seats.

Stepping into the nemesis role is Rob Kahn as Claudius, Hamlet's paternal uncle now married to Gertrude, the former king's widow.

Kahn's performance is, in a word, flawless. His command of the script's occasionally arcane language makes it possible for anyone to follow the plot. Furthermore, Kahn subtly conveys thoughts and subtext with the slightest raise of an eyebrow. Alone, his and Levatino's exhibition of their craft makes this production worth seeing.

Fortunately, a host of supporting players deserves mention as well. Rebecca Jordan as Gertrude and Sierra Fisk as Hamlet's love interest, Ophelia, are shortchanged somewhat by Shakespeare's lack of focus on their characters in the first act. Not to worry, though, as both actresses deliver second act performances that are truly heart-wrenching.

Likewise, Trent Hopkins as Ophelia's father, Polonius, and James Ryen as her brother Laertes, bring a necessary blend of compassion and urgency to the production.

Visually, the show is first-rate. Brandon Baruch's multihued lighting and Adam Phalen's seamless sound design complement every level of this piece.

Mike Chat's final scene fight choreography performed with complete conviction by the cast is disturbingly harsh. It's the perfect conclusion to director Thomas' vision of this ageless tragedy.

Review from AccessiblyLiveOffline by Rich Borowy on July 16, 2008.

The Gangbusters Theatre Company presents HAMLET, placing a new and rather serious twist into William Shakespeare's dire tale of greed, power, betrayal, revenge, and death!

The story does not take place in the nation of Denmark, but played within a 21st century mental institution. (Named "Elsinore" no doubt!) Christian Levatino is Hamlet, a member of the ward's mental unit as a patient. His mother Gertrude (Rebecca Jordon) the "queen", is the head nurse, and his uncle, Claudius (Rob Kahn), the "king" by default, is the chief psychologist. Here, Hamlet, the rightful "king", learns from his father's ghost of what is really going on. This "prince" must choose between indifferent conformation from his uncle's actions and the desire for getting even which could lead to a tragic end!

This version of The Bard's masterwork, conceived and directed by D.D. Thomas, shows Hamlet as a person that because of his mental issue, may have thought of this story within his own head! In the opening sequence, one views a cold and rather sterile mental ward complete with staff (professionals mixed with interns) going through their motions from writing reports and dispensing medications, and the ones with psychic issues. Then the scene unfolds with Hamlet the "prince" within the confines of the nation of Denmark--not a real Denmark, but a entity that is of spirit! One will receive their value's worth in this production that is very earthy and edgy! The entire ensemble that consists of (in order of their appearance), James Gilbert, McKinley Belcher III, Mocean Melvin, James Ryen, Trent Hopkins, Sierra Fisk, Rachel Kerbs, Lance Shigematsu, Jonathan L. Burbridge, Stephen Gergely, and Christopher Karbo, are all within step that shows off their real personal talent!

The technical aspects of this production as also worthy to note. James Coyne's set design is a true mental ward--full of tiled facades, scratched walls, and and overall look that can even pass for a prison. (The two are the same?) Adam Phalen's sound design adds to the mix of high drama and higher tension! And Vandy Scoates' costuming of the members of the mental ward is plain, simple and rather mismatched; Just as one could expect in such a vast place that shows small hope and smaller cures!

One may have seen HAMLET before. Perhaps, but definitely not in this mode! The Gangbusters Theatre Company's version is a fine example of where the inmates are indeed running the asylum, right down to its final "insane" showdown! This is a play that is worth a good hard look!

Review from THE TOLUCAN TIMES by Pat Taylor on July 23, 2008.

Presented ingeniously by Gangbusters Theatre Co., known for their inventive and gritty vision, this is a mind-blowing version of The Bard’s most famous play. Set in a mental institution, where all of the players are either patients or staff… I can promise, you’ve never seen the Prince of Denmark and his complicated cohorts quite like this! Directed with powerfully explosive choices by D.D. Thomas, the audience was transfixed in utter awe for two hours. The play opens in a starkly dismal, minimal set (by James Coyne) focusing on a wheelchair and a toilet…and most of the actors wear contemporary doctor’s scrubs or uniforms (by Vandy Scoates). The spooky lighting (by Brandon Baruch) and haunting sound (by Adam Phalen) set the mood perfectly, as do Jan Plank’s props and Mike Chat’s volatile choreographed fight scenes. The whole cast impresses in these familiar roles…but undeniably, one actor, Christian Levatino, “blew our minds” as the intensely troubled Hamlet! The strongest, most memorable, most manic Prince of Denmark I’d ever seen…I don’t know how he survives this gut-wrenching portrayal night after night! Also to his credit, (and much of the cast’s too) he eloquently made Shakespeare’s words and meanings easier to decipher for us, than in past productions. Levatino must be seen and seriously considered, by all of the L.A. theatrical award officials. To everyone else… Do not miss his triumphant, disturbingly gutsy performance! (Not for the weak of heart or stomach… it is gory!) Artful and memorable portrayals also in the infamous lead roles: The beautiful, tormented Ophelia (Sierra Fisk), her father Polonius (Trent Hopkins), her brother Laertes (James Ryen), Horatio (Mocean Melvin), and Queen Gertrude (an excellent Rebecca Jordan). Rachel Kerbs in a nearly wordless role was wonderful to watch, and the rest of the hard-working cast includes: James Gilbert, McKinley Belcher III, Lance Shigematsu, Jonathan L. Burbridge, Stephen Gergely, and Christopher Karbo. This is a shockingly raw, “bare bones” production… a “no frills” affair that is truly all about the performances! A remarkable effort!