Review: Hamlet
The amazing Hamlet in the arc of history
Helsinki City Theatre’s Shakespeare’s Hamlet is not only wandering in the mazes of Kronborg Castle in the medieval past, but it is there too. This Hamlet is in all times and places where power has been and has been abused and loveless.
Hamlet (Eero Aho) is a youth king from a troubled suburb or a better area, whose inheritance has been dishonorably hijacked by his uncle and at the same time married his mother (Tia Louste). The Queen Mother is an exploited woman whose only consolation is a moment of solitude hidden in blood-red sheets. With Louste’s harrowing interpretation, she tries to scratch the remnants of motherhood with her nails towards her son, while her new husband and king (Esko Salminen) cares little about her love-screaming womanhood.
The new king resembles a rancid old man who has given his best juices and who gradually reveals his empty stupidity. Salminen’s mostly minimal interpretation is cutting professional work; the disgust for the stepson Hamlet is downright coloured throughout the space. The king is followed by Polonius (Asko Sarkola), a stooge at his worst. The reality of the fate of the slain king (Tom Wentzell) is too much for both eyes.
The cynical Hamlet does not know how to love, does not know how to enter into a genuine relationship with Ophelia (Anna-Maija Tuokko), doubts and bosses, lives as if it were the last day. Ophelia longs for a love that Hamlet cannot reach, and so Ophelia is destroyed by drifting into external desires.
A more appropriate role in Hamlet could have been found than Eero Aho. Aho’s physical performance supports the interpretation that runs along the timeline of history. Only Horatio (Kari Mattila) is loyal.
This Hamlet adaptation does not fall into pointing out individual cases much, but it does give some indications. The play has been made into a timeless, multi-layered image of humanity.
Shakespeare’s tragedies are characterized by humour. The greatest joy of Hamlet and co. is – tragically enough – created by the buzzing of clouds.
Since there is a huge amount to tell, external simplification has been necessary. Veijo Meri’s Finnish translation and Heiskanen’s script overlap.
Numerous Shakespearean aphorisms have been cut down as necessary, but there are still plenty of clicks on the nose.
The set design for Hamlet was designed by Antti Mattila.
The costumes designed by Sari Salmela are suitably indicative. Magnificent choreography and costumes blend in the black dance of Unto Nuora and Kirsi Karlenius. Music borrows classics and produces something new. The narrative of music sets the rhythm and supports the story; The authenticity and scope of the interpretations speak to us.
Composer Tommi Lindell and sound designer Eradj Nazimov have captured the great arc of the play.