By Jess Elfick
Content Warning: This review mentions suicide and violence.
Melbourne University Shakespeare Company’s (MUSC) HAML3T takes audiences on a self-referential, queer and emotionally charged run-through of Shakespeare’s classic tale as you have never seen it before. Co-Writers and Directors Sabina Donato and Laura Charlton created a stunning play, following not one but three Hamlets as they have been written and rewritten by the love-struck Horatio, bound to tell the story of Hamlet forever.
The story depicts the time after the King has been murdered and replaced by Claudius (Tulipa Rodriquez-Quin), and the ensuing plot to avenge this death after his Ghost (Tulipa Rodriquez-Quin) informs the Hamlets of the crime. Lady H (Bridie May Kelly), The Prince (Bianca Sanchez Galvin) and Hamlet (Narri Salmon)—the three splintered renditions of the titular character—spiral through their own stories of love, duty and tragedy respectively, being pushed along by the ghosts of their past and present. They fight amongst one another to be the true hero, while the story moves ever forward to restore the plot of the original Hamlet. HAML3T spins a web of confusion and angst around the original characters as they appear to wreak emotional and physical havoc amongst family and rewritten counterparts.
This web was physically realised in the incredible set design by Alexi O’Keefe and Rachel Stone, which was the talk of the theatre. A spider web of plastic string hung from ceiling to wings, backgrounded by a large white screen. The screen was expertly used throughout the show, displaying beautifully produced videos (Aeva Milos) which interacted with the action onstage, poignantly projecting actors across the black box theatre. The videos portrayed offstage ghosts in almost parallel timelines, while characters like Lord Fi (Hanqing Li) and Hamlet were physically dragged in turmoil mirroring the projections on screen. While compelling, it could have been more impactful if the otherwise blank hanging space in the second act had featured more of the visual components that played such a strong role in the first act.
While the set and multimedia bolstered the story, the actors carried the heavy emotional journey of the play. Salmon handled each scene with a seriousness and theatrical nature that exhibited both their own acting prowess and the complex character written by Charlton and Donato. Themes of love and legacy were key, and the meta elements shone when Hamlet walked up the stairs of the aisle and positioned himself amongst “the dark faces” whilst reciting a graceful monologue. Having the audience strain to find Salmon amongst the darkness placed us firmly back into our own reality where we constantly rehash the iconic story of Hamlet, as Horatio compulsively does in HAML3T.
Though each actor unequivocally held their own, Ophelia was a welcome refuge when I found myself struggling through the intense story. Chillingly singing as they enter, Nina Adams floated across the stage in a beautiful, distressed gown designed by Eden McLean. They have a sweet voice, and a lightness to their handling of the dichotomous themes of lovingness and existential dread. Most impressively, Adams’ chemistry with each other actor was bewitching.
The plot was excellently explored in the behemoth that was a two-hour long performance, with the second act hitting the existential and universal truths that one would anticipate from a Shakespearean adaptation. Whilst some of the dialogue or finer plot points may have been lost on us laymen, the closed captioning and the characters’ depth of emotion—particularly Kelly as Lady H—advanced the story. When crucial, the writers expertly pared back the hard-hitting Shakespearean language, most notably in the scenes between Hamlet and Horatio (Josh Higgins). Higgins’ subtle movements and facial expressions were powerful—each sidelong glance, touch of the hand and slow hug felt like a gut-punch, with the final, tragic blow coming as Hamlet died in Horatio’s arms. The use of the crew onstage was well-considered, deftly highlighting the meta nature of the play when they were shooed away while trying to clear the final scene.
The eerie soundscape (Alexi O’Keefe) elevated the frequent emotional climaxes, though at times it was slightly difficult to hear the unmic’d cast. That said, juxtaposing the echoing soundscape with silence was a touching choice, as was the lack of microphones, which created an intimate mood.
Creative lighting choices were abundant (originally by Andrea Salvador and remounted by Max Vrancic), with a largely dark stage and consistent colour scheme. It was captivating to watch Hamlet slink around an opening pool of light, and the flashing lights used to emphasise the desperation of the second act were compelling. The blend of the soundscape, lighting and fantastical costume asserted the idea that the King (Tulipa Rodriguez-Quin) was estranged from the reality of the play. At times, the performance could have benefitted from more facial lighting so that the audience could have fully seen and embraced the actors’ emotions and detailed costuming.
The performance tackled a number of serious issues with a professional level of care. The heavily implied suicide, physical violence and homophobia were respectfully treated, allowing the weight of the issues to hang in the theatre. The grief surrounding Hamlet’s final death was especially heart-wrenching, and truly a credit to the acting of Higgins. The fight between Lady H and The Prince was also exceptionally well executed, with the emotional range of the two actors fortifying the passage.
HAML3T once again showcased the impressive skill of the cast, crew and production team and their teamwork. The heavy list of content warnings did not prepare the audience for the beautifully handled tragedy of the performance, though perhaps its father piece Hamlet should have. I—and, I imagine, much of the audience—left with a new appreciation for the depth of student theatre, while dabbing away a few stray tears.
Melbourne University Shakespeare Club’s HAML3T was remounted in association with Unspooled Theatre Collective. It ran October 18th to 22nd at Gasworks Theatre as part of the 2022 Melbourne Fringe Festival.
Jess Elfick (she/her) is a Design/Engineering student who enjoys smashing together all things creative with all things science. She is based in Naarm/Melbourne.
The Dialog 