|
I Hate Hamlet The Broadway production of Paul Rudnick's I Hate Hamlet opened at the Walter Kerr Theater on April 8, 1991 after playing 24 preview performances. It closed after only 88 performances. This comedy deals with TV actor Andrew attempting to tread the stage boards in the famous play by the Bard. In his quest to achieve the utmost success in bringing the prince to life, he moves into the home that once belonged to the great film and stage star John Barrymore. In a strange twist of fate, Andrew's real estate agent - who happens to dabble in the psychic world - actually does conjure up the ghost of the famous Barrymore. I Hate Hamlet is a feather light comedy that feels uneven, as if not much thought was put into it. Paul Rudnick is more of a writer of camp humor and bitchy wit, a la his alter ego, Libby Gelman-Waxner in Premiere Magazine. Rudnick's plays all have the same after taste. There are some great one liners, zingers, and punchlines, but no real substance, subtext, or solid characters to care about. Jeffrey is yawning in its study of being "date paranoid" in the age of AIDS; The Most Fabulous Story Ever Told is another mediocre play that hits the danger zone with its humor on religion and a ridiculous second act dealing again with AIDS. Rudnick also wrote a play called On The Fence about Matthew Shepard's last hours, which had Eleanor Roosevelt and Paul Lynde battling for his soul - yes, a comedy. Watertower Director Henry Fonte has taken the frayed Rudnick script for I Hate Hamlet and successfully created an enchanting evening with a first class cast and a Broadway caliber design team. Fonte's extremely eye pleasing blocking has his actors using the entire gothic set designed beautifully by Michael Sullivan. Fonte strives to keep the pace crackling with freshness and energy flowing throughout the evening. Also pleasing is how Fonte has found physical comedy moments within the play that I had not seen in previous productions. It shows his great talent. When I heard the announcement that Watertower was mounting Rudnick's play, my first comment was, "Well, only Bill Jenkins can play Barrymore," and I was right. His performances makes you feel as though the great Barrymore has taken possession of Jenkins. From his first entrance, which is profile and lit perfectly, Jenkins is pompous, grandiose, snobbish, and has an aura of "high classed trained British actor" that is Barrymore. He even says, "I'm not a man, I'm a crowd!" Jenkins also uses his facial expressions for hilarious comic effect. Just one raise of the eyebrow or a glare and the joke or punchline earns more laughs. This is all wrapped up in Jenkins' accurate comic timing and pace which gives a perfect homage to Barrymore that would make even Drew yelp with glee. Shannon Michael Wamser as Andrew Rally has the toilsome task as being the straight man to Jenkins' Barrymore and for the most part the actor succeeds. It takes a while for Wamser to warm up, but once he does, he is enduring as the TV sitcom star who is about to debut at New York's Shakespeare in the Park as the lonely prince. Wamser is natural and quite enjoyable. Both Jenkins and Wamser are solid counterpoints to each other's style of acting and the chemistry is tight between them. The "curtain call" comic bit that Jenkins displays to Wamser is extremely funny to watch. Ethan Ward is cast perfectly as the sleazy TV producer who also happens to be Andrew's friend. His coal black goatee, dark as night hair, and dark eyes give Ward a slight image of ... well, Satan! Ward snakes, wheels and deals with wild exuberance in trying to get Andrew to take the TV deal that awaits him in LaLa land. He is devilishly funny and a wonderful match to both Wamser and Jenkins. Melinda Mils as Lillian Troy, Andrew's German chain-smoking agent, is a priceless gem in the cast. Mils creates a side splitting hacking and coughing bit that is hilarious. Mils' clipped German accent and dead on comic timing turns this so-so role into a scene stealing performance. Arianna Movassaugh is a scream as real estate agent Felicia Dantine. This actress speaks in a perfect nasal New Yawk dialect that matches her massive raven hairdo and her long, red lacquered nails. Movassaugh has a hilarious comic setup when she goes into a "trance" to talk to the spirits. She also achieves victory in her comic delivery and facial expressions. Stacey Oristano is charming as Deirdre McDavey, the love interest to Wamser's Andrew. Oristano speaks in a high pitched voice reminiscent of the Norma Cassidy character in Victor/Victoria. Oristano and Wamser bring a natural chemistry to their on stage relationship. Like her fellow colleagues, Oristano also has the facial expressions and comic timing that fit her character like a glove. Watertower and their design staffs consistently bring eye dazzling sets, lights, and costumes to their productions; it is a treat each time I go to see what marvels of design they have come up with. Jeff Stover's lighting design is magnificent to watch. Colors splash onto the set to achieve wonderful subtext for the actions on the stage. Look at the blinding white that is lighting the back glass wall, then see the burnt orange slowly open up like sunrise. Or the specific lighting effects for the romantic interlude for Barrymore and Lillian, or the effect for the Hamlet script and red rose; it's those moments that help the weak script move up a notch. Michael Sullivan's gothic multi-level set is pure eye candy. There is a grand staircase, an elegant fireplace, and an art deco back wall with columns, while the tops of the set resemble Notre Dame. Just pure craftsmanship here. Valerie S. Liberta's costumes give the actors the correct subtext for their characterizations, from Movassaugh's loud colors to the elegant period costumes for Jenkins, Wasmer, and Oristano. Liberta even has sequins sewn into Jenkins's codpiece (there is a rollicking comic setup for this bejeweled codpiece - Barrymore in fact states, "It must be seen from the balcony's second row!"). While the pot holes and blandness of the script still pop up, this does not stop the cast, director, and design team from giving their audience a night of comical theater, a goal achieved with flying colors. I Hate Hamlet runs through February 17 the Addison Theatre Centre, located at 15650 Addison Road in Addison, TX. Performance times are Thursdays at 7:30 PM, Fridays and Saturdays at 8 PM, and Sundays at 2 PM (no matinee January 27). Ticket prices range from $19 to $25. To purchase tickets for I Hate Hamlet, please call the WaterTower Theatre Box Office at 972.450.6232 or purchase tickets online at www.watertowertheatre.org. Group rates are also available. I Hate Hamlet Director........................................Henry Fonte Cast John Barrymore.................................Bill Jenkins |
