Tessa Ndjnkou reviews the UCD Dramsoc Leaving Cert Show, Praise Titus’s and Nessa Molumby’s Hamlet.
Two minutes. A hundred-and-twenty seconds. That’s how long the standing ovation for Dramsoc’s 2024 production of Hamlet lasted. The play with its ambitious casting and production kicked off the new semester on Wednesday 17th January at 7pm. In this version, Hamlet is a grecian-steampunk young Princess of Denmark embroiled in a political coup and on a journey to avenge her father and mend her soul. The directors, Praise Titus and Nessa Molumby defended their unconventional casting: “we wanted to challenge students on how they think of certain characters and how their interpretations of relationships may change depending on which actors play particular characters”. Their directing style which is so heavily dependent on “conversing with actors to guide them in deciding how they feel their characters would act and react to certain situations” pays off as actors fit into their characters like a glove.
Once again, gender plays a key role in a Dramsoc production as the often underestimated Hamlet’s birthright is ripped away from her by her Uncle, Claudius. The grief she holds for her father and the life that should have been hers fester until the very thing her Uncle Claudius is guilty of, hubris, is her downfall.
The set design was unexpected and could have done with some more texture, definition and depth. Despite this, the callback to antiquity with grecian and gossamer sheets was a welcome departure from recent Hamlet productions that have embraced a more modern decor. It is worth noting the significant contributions made by the orchestra and the light work. Notably in Act I scene V, King Hamlet’s ghost appears in front of his daughter to recount the harrowing tale of his death and demands she avenge him. As Hamlet, performed by Usher Titus, gazes up at the audience, a hush befell the crowd as the cloaked figure emerges from the red fog as if risen from hell. Astra Hall momentarily becomes the first circle and we all watched slack jawed as the ghost of King Hamlet (Daragh MacLachlan) floats down the stairs and bequeathed a quest to his daughter and damned her simultaneously. The orchestra’s contribution to the production is paramount as they add the grace notes to a spectacle that is already impressive on its own. Its importance really shone in the background of Ophelia’s (Joshua McNutt) untimely death. The strings that follow her bittersweet death and departure into the afterlife with her mother Polonius (Christine Doheny).
Astra Hall momentarily became the first circle and we all watched slack jawed as the ghost of King Hamlet (Daragh MacLachlan) floated down the stairs and bequeathed a quest to his daughter and damned her simultaneously.
Hamlet is historically a lengthy and thematically dense play and even the best abridged versions cannot erase that truth. Dramsoc’s Hamlet initially seems to maintain a steady and dynamic pace but as the intermission looms ahead and the audience’s attention span begins to falter, it feels as though changes could have been made to make the play avoid lulls.
However, several standout performances made the wait for intermission less trying.
Mostly notably, the titular character, Hamlet, played by the magnetic Usher Titus who channels the right amount of youthful angst and gravitas of a princess embroiled in a political grapple for power. As she looks towards the crowd, her obsidian eyes gleam and betray the grief, hatred and skittish, unfocused rage that are integral to becoming the scorned princess of Denmark. The contrast she brings to her performance is second to none as she goes from emotional vibrato and splintered cries to tongue-in-cheek humor at the drop of a hat. Because of this, it would have been all the more enjoyable to see her use not just the space but her own body with more assurance. Despite this, Usher Titus is Hamlet. She shines in every scene she is in and the chemistry with her scene partners never falters.
As she looks towards the crowd, her obsidian eyes gleam and betray the grief, hatred and skittish, unfocused rage that are integral in becoming the scorned princess of Denmark.
Joshua McNutt handles the evolution of Ophelia’s character with care but it is his progressive descent into madness and the absolute anguish in his lines and song that cement him as Ophelia. Other standout performances include the excellent duo made up of Rosencrantz and Guildenstern brought to the stage by Rachel Thornton and Ed O’Leary. Their performance is unapologetically anachronistic and the addition of some slapstick humor is a welcome departure from past interpretations of this duo. Christine Doheney’s interpretation as an overeager, overzealous and altogether squeaky Polonius was absolutely transcendental - it was all I could have wanted and more. Her comedic timing punctuates the scenes she is in perfectly although her assassination was a bit fast paced given the chain reaction it causes. The players, led by Player King and Queen, Aifric Juliet O’Donnell and Con Henry might not have been memorable for their lines but their body language and use of space made them stand out. It takes an excellent performer to play within a play.
Finally, the royal couple Gertrude (Tishé Fatumbi) and King Claudius (Stephen Alenkhe) are just that: royal. Fatumbi once again expands the character to its full potential with finesse while Alenkhe’s reactions and timing are fit for a man imbued with self-importance. It is worthy of note however, that some of the choices made with this character at times fail to make it seem as three-dimensional as it is. Indeed, Claudius is a conniving and cruel man who is inevitably burdened by the weight of his hubris which didn’t shine through in this rendition. Although exclamations and interjections are welcome in a performance, they shouldn’t make up most of it because the weight of the original text may be lost along the way.
The instincts the makeup and costume teams have are the right ones and I’ll not soon forget them. The attention to care and detail was lovely to witness: Hamlet appearing with a military coat, a gilded laurel wreath and boots at the start of Act I and then progressively removing her “armor” and royal signifiers as she is more vulnerable was both beautiful and appreciated.
The instincts the makeup and costume teams have are the right ones and I’ll not soon forget them. The attention to care and detail was lovely to witness.
It is clear that a great deal of care and dedication was put into this production and everyone involved ought to be proud of themselves. Praise Titus’ and Nessa Molumby’s modern take on a centuries-old tale brings something fresh and much needed to the original text.