Mark Lockyer gives a remarkable and compelling performance in Fiona Laird’s shrewdly abridged version of Shakespeare’s Danish tragedy, The Play’s the Thing: A One-Person Hamlet, which she also directs.
A rigourous exposition of the play, stylishly directed and consummately performed.
Wilton’s Music Hall is a cavernous space. The stage is deep and wide, but Laird confines the movement to the expansive apron, with staging blocks almost barricading what is behind. A modestly regal chair is tucked away down left; a place for Lockyer to take a break and towel his face between the newly-devised ‘acts’. A length of shimmering red cloth hangs stage right from the ceiling to the raised floor level behind the apron, its modest width offering just a hint of power, royalty and blood, in vivid contrast to the otherwise ‘sterile promontory’ that is suggestive of Hamlet’s loneliness and isolation in his empty world. Only some highly effective lighting by Tim Mitchell serves as an emotional and mood-setting aid to Lockyer’s performance. Thereafter it is just the man with the text.
It is the text that reigns supreme in this production. A palpable passion to convey meaning, and to ensure that every word and construct is understood emanates from Lockyer throughout, as though he is pleading with us to get the message. As he takes on all the roles in the play, it becomes increasingly clear that his characterisations are not about displaying his consummate versatility as an actor, although they do this abundantly, but rather that they are concerned with showing each person as a distinct individual who has a vital part to play in the unfolding of the drama and above all that their words in context should be fully comprehended.
Nowhere does this become more clear than in the heartfelt delivery of the most challenging of speeches, To be or not to be… Setting aside all grandeur, he sits humbly on the floor and calmly allows the mental cogs to turn. He earnestly sets out the dilemmas, making sure the emphasis is placed on certain words to convey the logic of the argument that is disturbing his mind. Is it better to ‘suffer… or take arms’?
With all lines meticulously enunciated, vivid characterisation and explicatory storytelling dominate. Amidst the many takes on male roles through a range of voices and postures he also brings an appropriate air of sensitive femininity to Gertrude and Ophelia. Humour and light-heartedness are interspersed among the anger and tension, while the complexities of staging a one-man duel are overcome by his acting skills and the ingenious fight direction by Dan Fraser.
Together, Lockyer and Laird deliver a rigorous exposition of the play, stylishly directed and consummately performed.
