Shakespeare wrote that “Madness in great ones must not unwatched go.” Nor does it in Harry Reed’s succinct and focussed adaptation of the Bard’s great tragedy Horatio & Hamlet at Barons Court Theatre.
Like madness, this play should not go unwatched
Using the original text, Reed has brought these two characters together to tell the story in a concentrated production that focuses on Hamlet's ‘antic disposition’ and raises the age-old question as to whether Hamlet really is disturbed to the point of madness or whether his extraordinary behaviour is an outward show to further his ends; that he might say with Iago, “I am not what I am”, even to the point of deceiving his friend.
Inevitably, Hamlet (Joseph Ryan-Hughes) dominates; after all, it's his tale. But Horatio (Alex Dean) is his student buddy and, lest we forget, he wears the Wittenberg University hoodie as a reminder; an inspired piece of costuming. To reinforce the roots of their friendship, Laura Mugford's set is Hamlet’s dilapidated student flat, two months after the funeral of Hamlet’s father. Without wishing to stretch a line too much Hamlet says to Horatio in Act V “Couch we awhile, and mark”, which is what they do. The couch is a central part of the set on which they share a bong under a blanket creating clouds of smoke. What they are smoking is unspecified, but their subsequent behaviour suggests it’s probably more than apple, as they energetically fool around and bait each other.
All the great speeches are recited and some lines from other characters are given in particular to Horatio in order to help the story unfold. Dean plays second fiddle with subtlety, a subdued, facilitating role that contrasts with Ryan-Hughes’ wild outbursts. He gently teases out of Hamlet how he perceives the situation and as far as possible some explanations of his actions and his understanding of his actions.
He clearly has a great deal of affection for Hamlet and is disturbed to see him in this condition playing the dear friend with kindness and sympathy. Ryan-Hughes, meanwhile, supplies all the eccentric behaviour and wild gaming to confirm suspicions of madness as he delivers the lines that reveal the inner workings of his mind. He also gives intelligent and meaningful delivery of the famous soliloquies, in particular, “To or not to be..” with emphases in all the right places.
In directing his play, Reed does not shy away from modern devices that get around some awkward moments in delivering the full story. Ingeniously the performance of the Mousetrap by the strolling players is live-streamed to the tv in Hamlet’s flat. The deliberate anachronism perfectly fits the situation and forms part of the student-style existence the two guys share. The basement venue also adds to the mood of being housed in a dark old building where ghosts might indeed wander.
With Hamlet dead in his arms Horatio has indeed fulfilled his promise to “speak to th’ yet unknowing world/ How these things came about.” And so the double act part ways and we too can leave this triumphant production. Like madness, this play should not go unwatched.
