Shakespeare's masterpiece passes on to good hands
Persephone Productions' talented young cast create a powerful performance
The McGill Tribune, November 5, 2012, by Julia Donahue
When Gabrielle Soskin founded Persephone Productions in 2000, she intended for the non-profit theatre company to provide work opportunities for young performers. Hamlet—a story of life and death, love and loss, and the epitome of human suffering—may be deemed a rather demanding play for such a young group, but it flows smoothly and elegantly, with noticeably masterful performances by several cast members.
Christopher Moore flourishes as Hamlet, and eloquently captures the prince’s inner torment with a thoughtful and mature performance. Others, primarily Howard Rosenstein as Claudius, are overshadowed by Moore’s powerful stage presence, appearing somewhat flustered on stage (Rosenstein appeared to forget his lines on multiple occasions). However, even this unintentionally contributes to the play—whereas Claudius fumbles to speak, Hamlet powerfully delivers his lines, emphasizing his confidence as Claudius buckles under the overwhelming guilt of responsibility for his brother’s murder.
Persephone Productions focuses on the spoken content of Shakespeare’s work, and less so on scenery and props. Rather than hinder the performance, this minimalist approach leads to a performance centred on the text.
The setting of the stage is entirely black, with very little ornamentation, drawing the audience’s focus directly to the actors. This bleak and simple setting also allows for discreet colour imagery throughout the play. The most striking of these contrasts occurs during Hamlet’s famous confrontation with Ophelia at the beginning of Act III. As the two meet in centre stage, Ophelia’s beautiful, floral white dress resembles a wedding gown, while Hamlet’s black ensemble seems fit for a funeral. Ophelia’s innocence sharply contrasts with Hamlet’s gloomy countenance, as the audience witnesses this confrontation between innocent hope and stale despair.
Ophelia’s transformation in itself is shocking, as Arielle Palik portrays Ophelia’s downfall into madness in a way that not only highlights her virtuosity as an actress, but strikes the audience as morbidly real. Throughout the play, Palik takes on the air of someone who is not simply acting, but actually living the part. Ophelia’s happiness, despair, love, and heartbreak brings an extra emotional punch to the passionate performance.
Persephone Productions accomplishes a fine performance of Shakespeare’s most famous play, and their interpretation remains a must-see for both avid Hamlet fans as well as those who are less partial to Shakespeare’s works.
Regardless of the category in which you find yourself, take the time to enjoy this masterful performance. I can assure you that this will not be the last time you watch these gifted performers.
Hamlet runs from November 1 to 18 at the Calixa-Lavallée Theatre (3819 Calixa-Lavallée). Student admission is $15.
The McGill Tribune, November 5, 2012, by Julia Donahue
When Gabrielle Soskin founded Persephone Productions in 2000, she intended for the non-profit theatre company to provide work opportunities for young performers. Hamlet—a story of life and death, love and loss, and the epitome of human suffering—may be deemed a rather demanding play for such a young group, but it flows smoothly and elegantly, with noticeably masterful performances by several cast members.
Christopher Moore flourishes as Hamlet, and eloquently captures the prince’s inner torment with a thoughtful and mature performance. Others, primarily Howard Rosenstein as Claudius, are overshadowed by Moore’s powerful stage presence, appearing somewhat flustered on stage (Rosenstein appeared to forget his lines on multiple occasions). However, even this unintentionally contributes to the play—whereas Claudius fumbles to speak, Hamlet powerfully delivers his lines, emphasizing his confidence as Claudius buckles under the overwhelming guilt of responsibility for his brother’s murder.
Persephone Productions focuses on the spoken content of Shakespeare’s work, and less so on scenery and props. Rather than hinder the performance, this minimalist approach leads to a performance centred on the text.
The setting of the stage is entirely black, with very little ornamentation, drawing the audience’s focus directly to the actors. This bleak and simple setting also allows for discreet colour imagery throughout the play. The most striking of these contrasts occurs during Hamlet’s famous confrontation with Ophelia at the beginning of Act III. As the two meet in centre stage, Ophelia’s beautiful, floral white dress resembles a wedding gown, while Hamlet’s black ensemble seems fit for a funeral. Ophelia’s innocence sharply contrasts with Hamlet’s gloomy countenance, as the audience witnesses this confrontation between innocent hope and stale despair.
Ophelia’s transformation in itself is shocking, as Arielle Palik portrays Ophelia’s downfall into madness in a way that not only highlights her virtuosity as an actress, but strikes the audience as morbidly real. Throughout the play, Palik takes on the air of someone who is not simply acting, but actually living the part. Ophelia’s happiness, despair, love, and heartbreak brings an extra emotional punch to the passionate performance.
Persephone Productions accomplishes a fine performance of Shakespeare’s most famous play, and their interpretation remains a must-see for both avid Hamlet fans as well as those who are less partial to Shakespeare’s works.
Regardless of the category in which you find yourself, take the time to enjoy this masterful performance. I can assure you that this will not be the last time you watch these gifted performers.
Hamlet runs from November 1 to 18 at the Calixa-Lavallée Theatre (3819 Calixa-Lavallée). Student admission is $15.
