What if a woman played Hamlet? Shock-horror, right? No, not today. But, when Jean Betts was at drama school back in the 1980s and 90s, it was, well, a different time. Legend has it that when she performed Hamlet’s famous to be or not to be monologue to her drama teacher, they responded, ‘It was really good. I almost believed you could play him.’
Ophelia Thinks Harder can therefore be seen as her hit-piece back at this particular drama teacher. But, to reduce it to only that robs the play of its poignant discussion of physical and sexual violence, mental health and suicide. Instead, this production by Fingerless Theatre in association with bAKEHOUSE Theatre Co is a timely reminder of how people in power often abuse it. Those under their power, in this case, women, are at the behest of whatever mood the men are in that day. Not too far removed from our current society.
It’s not all doom and gloom though. The play is not only Shakespearean in its content but also in its tone and form. It blends comedy and tragedy by using slapstick and farce to pair with its profound sense of darkness. Nowhere is this more evident than in the glorious set design by Hannah Yardley and Jimi Rawlings. Due to the traverse nature of the stage at KXT on Broadway, where the performers are flanked on either side by the audience, the set is split in two.
On one side is a palace interior with a mural of Mary, Mother of God. On the other is a luscious green overgrowth that sees nature clawing its way back to a place it has been forced out of. Director Alex Kendall Robson says he was captivated by the idea of the memento mori. The balance of the skull and the flower, life and death. The centre of the stage, where the two sides merge, represents the choices Ophelia is torn between, each pulling her in a different direction. She must think (hard) and, in the end, decide her fate.
Brea Macey plays the role of Ophelia, stepping in for co-Producer Jade Fuda originally on double duty just two days ahead of opening night. Macey commands the stage every time she enters the scene. Her presence, tenacity, fury, affection, doting, longing, losing, and lust are all captured with depth and care. Macey commands the audience’s attention as she shares her most intimate thoughts. The ludicrousness of her situation and the absurdity of these men; her range is on full display. There is no doubt that she could play Hamlet.
As Hamlet, Shaw Cameron plays the most charming and intense frat boy, delinquent and abuser. He immediately gets the audience on side, only to eventually pull the rug out from underneath them. In the process, he shows his true colours, never to redeem himself. He only acts even more villainous, which he performs to perfection.
Eleni Cassimatis is a steadfast, clear-headed, loving, caring Maid. She is only trying to do what’s best for her Ophelia, even to her detriment. She has one of the most memorable monologues in the play, which is both hauntingly beautiful and gut-punchingly real. Lucy Miller chews the scenery as Gertrude. The scene where she gives Hamlet the telling off he so rightfully deserves brings out a massive cheer from the audience.
Hannah Raven and Julie Bettens, as Rosencrantz and Guildenstern, add some levity to the show and provide lovely insight into how revisionist history has continued to play out in generations past. Pat Mandziy, as the delectable Horatio, initially plays second-fiddle to Cameron’s Hamlet, but as the show progresses, he comes into his own in the most adorable and human way possible.
Ophelia Thinks Harder is well worth seeing. Not just for the phenomenal cast, incredible production team, and beautiful set. But for the majestic musical interlude during intermission from musical director Zachary Aleksander. And for a final line exchange that will leave you walking out of the theatre with hope for a better tomorrow.
Ophelia Thinks Harder runs until 29 March at KXT on Broadway, 181 Broadway, Ultimo NSW 2007.
Tickets: https://events.humanitix.com/ophelia-thinks-harder
Website: https://fingerlesstheatre.com/
Socials: https://www.instagram.com/fingerlesstheatre/
Photo credits: Phil Erbacher
