Ophelia Thinks Harder
Ophelia Thinks Harder is a feminist re-interpretation of Hamlet which could be described as an ideological treatise on the subjugation of women. Whilst using Hamlet as her model, playwright Jean Betts cleverly incorporates familiar lines from other Shakespearean works as a not-so-gentle reminder that productions of his plays have been perpetuating the denigration of women for over 500 years.
Written in 1993, Betts’ play predates the #MeToo movement by 24 years, an affirmation that Betts, and a generation of women writers and activists before her, have been de-crying the social, physical and sexual abuse of women long before 2017. The fact that they must continue to do so in the face of male supremacists like Andrew Tate is a sad inditement of contemporary society.
Director Alex Kendall Robson dedicates this production to the women who influenced his life and his love of theatre. His direction accentuates Betts’ feminist messages – whilst still paying tribute, as does Betts, to the 16th century poet’s language, rhythms and comedy.
Betts skilfully twists roles and lines in Hamlet to show Ophelia gradually reacting against the control, derision and ridicule heaped upon her by a narcissistic, sadistic, supercilious Hamlet and a pompous, lecherous Polonius. Kendall Robson leads his cast to sustain the tenor of the play by effectively accentuating the meanness and malice but tempering it with comedic quips and comedia-style clowning.
The action is fast, often loud, often confronting. Set in a small space, in front of a portrait of the Virgin Mary – a silent but influential figure in Ophelia’s struggle against oppression – the ten actors sustain a rapid pace and high energy yet maintain the impact of a very different interpretation of the well-known lines.
Understudy Brea Macey stepped into the role of Ophelia recently when co-producer/performer Jade Fuda reluctantly withdrew because of illness. Fortunately Macey had taken her role as understudy seriously and followed rehearsals religiously. She is gripping in her interpretation of a young woman torn between illusion and delusion – and the urge to rebel, even to “take arms against a sea of troubles” and effectively “end them”. Her Ophelia is initially raw, sensitive, hurt … then indignant, angry and defiant as she reacts against “the whips and scorns” of her oppressors.
Shaw Cameron plays a very loud and confident Hamlet. Never in this production do we see a procrastinating prince! Rather an over-confident, bullying, chauvinist fuelled by self-importance and rank – and the support of his sycophantic cohort. Except for Horatio, of course, who, played by Pat Mandziy, tries to unsuccessfully to reason with Hamlet – and champions Ophelia.
Zachary Aleksander is an almost ambivalent Laertes, torn between his duty as a brother and his loyalty to Hamlet. Aleksander who is also the musical director of the production, leads the cast as “The Players” in a gentle ode to Ophelia as the second half of the play begins.
Richard Hilliar is an objectionable, devious Polonius, Lucy Miller a shrewd and calculating Gertrude, and Kendall Robson himself, momentarily, the “Player King”.
Eleni Cassimatis is Ophelia’s maid. Abused by Polonius, ridiculed by Hamlet but steadfast in her support of Ophelia, Betts makes her the “unheard” voice of the women’s movement. Cassimatis gives the role the anguish and unwavering constancy it deserves – as do female versions of Rosencrantz and Guildenstern, played colourfully by Hannah Raven and Julie Bettens.
Drifting through the play is the ghostly figure of St Joan. Plucked from Henry VI as a model on which Ophelia can base her burgeoning confidence, Finley Penrose wafts in at the end of scenes, treating the snubbing of barefoot Saint with a haughty “merde” – which perhaps encapsulates Betts’ message!
Alex Kendall Robson and this cast bring that message forcefully to the KXT stage, accentuating the clever reversal of Shakespeare’s characters and tempering the seriousness of the theme with satirical comedy.
Carol Wimmer
Photographer: Phil Erbacher
Subscribe to our E-Newsletter, buy our latest print edition or find a Performing Arts book at Book Nook.