At the outset of a university semester, society committees face the challenge of recruiting new members alongside general promotion of the society in the university.
At the outset of a university semester, society committees face the challenge of recruiting new members alongside general promotion of the society in the university. Thus, for theatre societies, significant weight is placed on achieving success with their opening show of the year. These shows are rehearsed before the start of the academic year with significant promotion during Freshers Week, seeking to capture the interest of the university community. This year, the committee has selected Shakespeare’s Hamlet, a choice offering equal parts risk and reward. Arguably the most well-known of Shakespeare’s tragedies, it offers wide appeal, whilst also a significant expectation to meet. The gauntlet laid down for the creative team is to adapt this classic to provide an engaging experience for student audiences, that showcases what the society does best, all the while aiming to advertise an exciting year to prospective thespians.
Perhaps most commonly experienced by the student community through The Lion King, the traditionally feline-less tragedy follows the titular character in the events following his father’s death at his uncle Claudius’ hand. With the murder revealed to Hamlet by his father’s ghost, he seeks to determine Claudius’ guilt by seeming to descend into madness. The ensuing drama sees his lover Ophelia in anguish, all while Hamlet ultimately delivers himself to a self-fulfilling tragedy.
Attending the show on the 3rd October, I experienced a thoroughly engaging and slick performance. Directors Jasmine Ambler and Ellee Bamberger confidently deliver an exceptional production. Within the context of a student production, the creatives have made necessary cuts, delivering a sub 2hr15 runtime. This brings a certain pressure to get through the material in timely fashion, yet there is never a sense that anything is rushed. The youthful intensity of Sam Powell’s Hamlet serves to drive forward the core narrative, with comedic interludes from the supporting cast providing intermittent levity as appropriate. Whilst venue is typically dictated by availability, the creative team make good use of the black box environment of the Weston Studio. They double down on the intimate setting with a claustrophobic core set, the stage predominantly flanked by large downstage drapes. Whilst being a practical indication of the regal setting, they further serve to constrain the majority of the drama to a cramped central stage space, heightening the underlying pressure-cooker of the tense courtroom atmosphere.
With clear creative direction, BUST’s Hamlet sees strong performances from the entire cast. Cerys Hotchkiss as Polonius oscillates confidently between sinister and comedic, whilst the playful sibling dynamic between Laertes (Jacob Florence) and Ophelia (Lucy Taylor) allows both performers to exercise their comedic strengths. Ever more haunting then, is their subsequent reunion following Ophelia’s descent into madness, made hauntingly beautiful by Lucy Taylor’s ethereal vocals. Oscar James brings a menacing, slimy confidence to Claudius, embodying a weaponised insecurity veiled behind a charismatic poise that boils over into a tragic climax. Elizabeth Opoku-Denkyi brings a masterful stillness and composure to Gertrude, hinting at her complicity, her regal composure pierced only by sincere maternal concern. Sam Powell is faultless as Hamlet. His intensity gives clear momentum to the production, grounding his performance in a wholly feigned insanity, rendering his demise truly self-delivered. He brings a youthful charm to the turbulent lead, sustaining our sympathy, despite his toxic and destructive quest for revenge.
BUST’s Hamlet marks a triumphant opening to their society calendar. With a cast that displays a clear confidence and inclination for comedy, they thoughtfully constrain such moments (which are a certain joy, it must be said) to allow the darker themes of the material to develop appropriately. If there is a question as to whether to get a ticket for BUST’s next show, or to get involved yourself, Hamlet demonstrates the clear potential BUST has for delivering excellent student theatre.
To see or not to see? There is no question. The author acknowledges a conflict of interest through personal relationships with a number of the cast and creatives, alongside the society as a whole.