by Charlsie-Kern Kruger

Let me begin by saying that the Jacobean Theatre Workshop offers a remarkably entertaining “Hamlet” – well cut to fly by in two hours without any dull moments. It is also a “Hamlet” that has been intelligently considered and approached with respect and careful attention to detail. It has the feel of a workshop in the best sense. It seems that every nuance has been carefully considered. I start my review with these important points because I will have some critical comments to share. I mean to state them with great respect, and in a workshop spirit. Above all, I want to be sure to state that the Jacobethan Theatre Workshop is a welcome addition to the Bay Area community, as far as I’m concerned, and is a true “art theatre” with high ambition and I respond with a hearty “Amen!” I’d rather see such a company miss the mark than 40 productions that are reliable and risk-free.

So: does this Hamlet “miss the mark?” — my answer is a considered “yes” and “no.” What is great about it? Well, the program notes that the production “delves into the domestic and relational heart of the play, investigating the tensions between men and women in a patriarchal society.” From that perspective, there is much here to admire. In particular, the family unit of Polonius/Ophelia/Laertes is clearly and intelligently contrasted with the family unit of Claudius/Gertrude/Hamlet — this parallel of a triangular family dynamic is obvious once it is highlighted, but having seen more than a dozen productions and read the play (and a lot of criticism) more than a dozen times, this is the first time it has attracted my notice. Well, THAT gets my attention. And it is well done. David Noll’s take on Polonius is startling. This man is no clown, but a brilliant and misguided statesman whose commitment to the idea of “Daddy” (both in reference to himself and to King Claudius) clouds his judgment at every turn. For him, Claudius is “Daddy” – so his nephew Hamlet is nowheresville. And he is absolutely assured in his role of “Daddy” in relation to his children, Laertes and Ophelia. He cannot perceive them as separate individuals.

And speaking of Ophelia, Pilar Gonzales is very fine in the part. She is mercurial, smart, waking up to her place in the world, and truly tragic. The mirroring of Gonzales’ Ophelia and Mary Samson’s Gertrude has been carefully rendered so as to be unmistakable. Hamlet’s two confrontations with the women in his life (mother and lover) are treated as variations on a theme and it works very well.

As Laertes (and also the Player King), Jamie Montellato has excellent instincts and plays clear intentions, but he struggles a bit with the vocal demands of Shakespearean performance. Chris Schloemp brings the sort of “old pro” assurance to his performance that helps an audience to relax. He is very, very good both as Claudius and the Ghost of King Hamlet.

And now to Hamlet. Lukas Raphael (who also co-directed with Libby Oberlin) is a fine and enthusiastic performer with impressive physical and vocal skills. He and his co-director Libby Oberlin create satisfying stage pictures and pace things well. As Hamlet, he is somewhat confused and confusing. There is no question that he is very entertaining. He takes joy in his vocal and physical gifts, perhaps a little bit too much joy. I wouldn’t go so far as to call his performance self-indulgent, but at times one feels it should be served with a side of mustard. He has embraced Hamlet’s pretense of madness with so much commitment as to lose sight of Hamlet’s melancholy. He is having altogether too much fun. This choice certainly rivets the audience’s attention and is entertaining to boot, but is it Hamlet? Honestly, I’m not sure. His vocal pyrotechnics and physical grace are impressive, but Hamlet is a great soul, not a circus performer. Raphael’s choices confused me, and that’s an honest appraisal. As an audience member who enjoys being entertained, I was delighted. As a critical Shakespeare enthusiast, I have to raise both my eyebrows and perhaps purse my lips and murmur a tch or two.

There remains to be mentioned Maddi Scarbrough’s well-paced Horatio and Sergio Diaz’ varied characterizations of Guildencrantz (a portmanteau of Guildenstern and Rosencrantz), the fawning courtier, Osric, the loyal soldier Marcellus, and the opinionated priest who officiates at Ophelia’s funeral. Diaz does an excellent job with each of these miniatures.

These players are most welcome indeed! I believe we can look forward to some very fine work from the Jacobethan Workshop, and urge you all to pay attention.

“Hamlet” plays at the 6th Street Playhouse in Santa Rosa through June 21, 2025. For further information click here.

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Rating: *** (For an explanation of TheatreStorm’s rating system, click here.)
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“Hamlet” by William Shakespeare. Co-Produced by Jacobethan TheSergatre Workshop and 6th Street Playhouse. Directed by Lukas Raphael and Libby Oberlin.

Cast (in aphabetical order):

Serio Diaz: Guildencrantz/Osric/Marcellus/Priest. Pilar Gonzales: Ophelia. Amie Montellato: Laertes/Player King. David Noll: Polonius/Gravedigger. Lukas Raphael: Hamlet. Maddi Scarbrough: Horatio. Mary Samson: Gertrude. Chris Shloemp: Claudius/Ghost.