Go! REVIEW

The power of Shakespeare’s writing has never been more evident than in the Know Theatre Company’s production of “Hamlet.”

For one thing, the Know makes certain that the Bard shows its relevancy to a 21st century audience by adding the trappings of contemporary theater, including a multi-media approach.

I’ve witnessed at least a half-dozen productions of “Hamlet” and several dozens of Shakespeare’s other plays, and this is among the most powerful.

Chris Guthrie also proves his chops in the title role, playing Hamlet playing mad to the hilt, reveling in the sheer poetry of the language and the famous melancholy. Liz Holt, always a pleasure to watch, is no less fascinating as Ophelia (although the character’s hallmark “rosemary for remembrance” speech is conspicuously absent).

Although too young for the role, Jeff Groh presents Claudius č Hamlet’s uncle/stepfather č with a measure of conflict nearly equal that of Hamlet.

Among the ensemble, no one stands out more than Adam Standley, who doubles as a clueless Rosencrantz and a wily gravedigger. Only Horatio (Robert Williams) needs to slow down so we can hear his lines instead of seeming to race toward the more interesting parts. Although he only performs via the magic of video (and uncredited at that) Nick Rose makes the ghost of Hamlet’s father a horrible specter.

“Hamlet” also admirably survives director Jason Bruffy’s deconstruction as the production begins when the play ends, with Hamlet dying and Fortinbras making his long-awaited entrance. Although some notable speeches and plot points have been edited away, few will notice because “Hamlet” always reminds us how much influence Shakespeare had on the way we speak, even today.

Perhaps most remarkable of all is the use of some 15 video monitors and one large video projection that get a variety of uses. The famous letters being exchanged are presented as v-mail. The pompous and distant Polonius (Jim Stump) converses with his children via video-conferencing. And the ghost not only appears on the parapets, but seems to follow the plot, hovering in the monitors, wordlessly reacting to the action.

Shakespeare purists should delight at the innovation, and audiences who shy away from the Bard, thinking him stuffy and out-dated, would find this production a worthy trial.