While there is no denying the appeal of Mark Lockyer’s performance, the production feels a little too frantic to connect to the story.
Creating a one-man show take on Hamlet is a bold and ambitious thing to do and in many ways Fiona Laird’s production succeeds but the frantic pacing can be disorientating particularly for those less familiar with Shakespeare’s play.
This is perhaps why a plot is provided in the programme to highlight the key aspects of the story of how Hamlet’s story of revenge and grief unfolds.
The story begins in the wake of the King of Denmark’s death, with his brother taking his throne and his wife. As Hamlet’s suspicions surrounding his father’s death grows, so does his obsession for revenge and gradual mental instability as he attempts to deal with his grief.
This is a play that features many depths and layers that is filled with powerful emotion expressed by all of the characters, so to adapt it for a one man show is an exceptionally brave choice – and the actor taking it on has to be confident and committed from start to finish.
Thankfully through Mark Lockyer’s undeniable captivating performance, the audience is in safe hands in the way in which he guides them through the story. The way in which he is able to switch character at speed is impressive (although at times it can be disorientating particularly in the early stages of the production). His mannerisms and way in which he expresses himself (he is particularly good as Hamlet’s ghostly father) shows a great attention to detail.
However, given the sheer pace of Fiona Laird’s production it can be difficult through this adaptation to get a real grip on the characters and form a connection to them in a meaningful way. Yes all of the key speeches are present and correct – but Ophelia’s character is a key aspect and her character feels slightly overlooked and almost casually thrown in – which given her devastation at the loss of Hamlet and her father should have played a stronger part. This is particularly true when it is clear that this production is aiming to highlight the themes of emotional struggle and the impact grief has on people’s well-being.
This being said, praise should be given to Tim Mitchell’s simple but effective lighting design that not only highlights the change of scene effectively but also the increasing tension as the climax reaches its head (the fight scene is particularly well choreographed). With the blank stage (aside from a red curtain adding a splash of colour) plus the atmospheric surroundings of Wilton’s Music Hall, the lighting ensures a chilling atmosphere that maintains the audience’s attention.
Overall, this is a bit of a challenging production for those less familiar with Hamlet particularly given the pace of the show that it can be difficult to get a real grip on the characters. However, it can’t be denied that Mark Lockyer’s performance is well worth catching.
By Emma Clarendon
The Play’s the Thing continues to play at Wilton’s Music Hall until the 12th April.
Rating: ❤️❤️❤️