Bernhardt/Hamlet
by Theresa Rebeck
Directed by Janette Oswald
Produced by Rover Dramawerks
Berhardt/Hamlet is the story of turn-of-the-century, legendary actress/diva Sarah Bernhardt and her controversial decision to play the title role of Shakespeare’s Hamlet. The idea of gender-flipping a male role was completely unacceptable and frowned upon in the 1800s, although it was perfectly acceptable for a male to play a female role. In fact, all theatre was done by men, and not women. And Sarah had the..mm-mmm…audacity to boldly challenge these norms without hesitation. Because, she was Sarah Bernhardt
Janette Oswald assembled a wonderful cast for this production, played on a stage with only chairs, tables, a chaise, and projected images. This was the perfect choice for this intimate space and allowed the actors to move about the stage and shine in perfectly selected costumes by Kerra Sims. Lighting by Kenneth Hall was simple and appropriate, and Sound by Robbi Holman was a perfect reflection of female empowerment. A special nod to Matthew James Edwards for the sword choreography.
Carol M. Rice plays the formidable Sarah Bernhardt with confidence and poise. I especially enjoyed her scenes in Act 2 where she displayed a range of emotions with various characters. Her chemistry with writer/love interest Edmond Rostand (Jorge Martin Lara) was very moving. Lara has a subtle strength in his delivery that is a great contrast to Rice.
The company of players rehearsing "Hamlet" include Constant Coquelin (Brian Hoffman), Lysette (Marissa Mayfield), Francois (Sean M. Lewis) and Raoul (Alexander de la Cruz-Nunez). Coquelin is an equally accomplished actor of the time, and Hoffman is particularly strong in this role, delivering some impressive Shakespeare, and adding some levity to Act 2 that is fun to watch. Mayfield is delightful as Lysette and is a joy to watch. The physicality and facial expression of Lewis and de la Cruz-Nunez were a real treat and added great comedy to the scenes they were in, as well as, their amusing choreographed scene changes.
Chuck E. Moore is perfectly cast and is, oh so charming, as Alphonse Mucha, premiere artist, and creator of the “show posters” of the time. He has a great stage presence and accent. Scott Hickman poshly portrays theatre critic Louis with just the right amount of elitist swagger.
Rounding out the cast is Rosamond (Jenny Wood) and Maurice (Ian Grygotis). Rosamond, the astute wife of Edmond Rostand, suspects an affair between her husband and Bernhardt when she finds a manuscript written for Bernhardt. Wood masterfully presents Rosamond as very controlled and direct, but with a layer of emotion that lies beneath the surface that you can only see in her eyes. Sarah’s son, Maurice, returns to question his mother and her outrageous decisions. He rivals his mother’s intensity, and their scene together is powerful and touching. Grygotis does a superb job representing the range of emotions a strong-willed son can have with his equally strong mother.
If you are looking for a great evening of entertainment, don’t wait too long to get your tickets to see this show. Remaining performances are Oct 19-28. Visit roverdramawerks.com for tickets and showtimes.
Audience Rating: PG (brief suggestive sexual intercourse, drinking)
Accessible Seating: Available
Hearing Devices: Not Available
Sensory Friendly Showing: Not Available
ASL Showing: Not Available
Production Sound/Lighting Level: Comfortable
Noises and Visuals to Prepare For: None of note
Go See the Show!
Eddy Herring
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