Outstanding performances in the Shakespeare production of the season

George Ormerod as Hamlet. Photo credit @FuzFilms.

Hamlet by William Shakespeare. Performed by Tread the Boards at The Attic Theatre, Stratford-upon-Avon, from 4 April until 26 April. Directed by John-Robert Partridge.

Review by Charles Essex

Usually set designer Adam Clarke intricately arranges the small Attic stage with a wonderful array of props, dividing the space into various ‘rooms’ so it was a surprise to find the stage empty apart from two simple benches and a plain wash on the back wall. This proved to be a master stroke, with less being more, as the bare stage echoed Hamlet’s feelings about his life following the death of his father. Together with authentic costuming, perfect diction and delivery of the script, and Kat Murray’s lighting, Tread the Boards presented the best Shakespeare production this critic has seen.

Hamlet is Shakespeare’s longest play, but the tension and energy never lapsed.  All the cast were on top form.  George was absolutely outstanding as Hamlet as he commanded the stage with his performance. He delivered a huge amount of dialogue flawlessly from first to last and with a real range of emotions.  He switched moods between love and affection when wooing Ophelia, to turning on her with bitterness and vehemence.  He was thoroughly convincing in this lengthy role as Hamlet, a man increasingly consumed by bitterness, suspicion and revenge, as the character’s mental health deteriorated.

Emily Tietz was a wonderful ingenue as Orphelia, initially delightfully innocent but later distressed by Hamlet’s (George Ormerod) seeming fickleness, and she sang beautifully as she became increasingly mentally disturbed after the death of her father.  Ray Murphy gave two shrewdly contrasting performances, firstly as the lugubrious sombre ghost of Hamlet’s father, and then as the popinjay over-melodramatic actor who performed for the royal court.

Phil Leach was delightfully expressive in his two roles as both the garrulous Polonius and the gravedigger, typical comic roles that Shakespeare included even in his tragedies.  Martha Allen-Jones showed her versatility giving a wonderfully nuanced performance as Horatio, and David Hubball conveyed distress and anger as Laertes, brother of Ophelia.  Attic regulars Matt Rouseau and Jon Kerr each took several roles.  The interplay between them, as Rosencrantz and Guildenstein respectively, and Hamlet as they verbally tried to sidestep his suspicious questioning was perfect with the timing and gestures.  The final sword fight scene was brilliantly coordinated by Emily Tietz.

This exceptional Attic performance deserves full houses and is a must-see not just for lovers of Shakespeare, but for teachers and students who are currently studying or due to study Hamlet.

Tickets from www.theattictheatre.co.uk