As the audience around me affirmed, William Shakespeare’s Hamlet overflows with quotes we use every day. Maybe that’s why Irish Classical has picked this piece to foray into Shakespeare, and it certainly seems like they should stick to it. Kate LoConti Alcocer, recently named the successor to ICTC Founding Member and current Artistic Director Vincent O’Neill, helms this streamlined production running through May 19th. The adaptation is expertly done, clear and concise in its presentation, and entertaining to the last. If you’re one of 4 people who hasn’t seen, read, heard of, accidentally come up with the plot of, haven’t seen The Lion King, or otherwise don’t know the plot of Hamlet, “spoilers” ahead.

. . .[a] well oiled machine. . .

As the damaged prince Hamlet, Anthony Alcocer begins in earnest mourning. He has just lost his father, after all. As the play progresses, Hamlet’s madness takes him over, making it hard to tell when he’s in his right mind. Alcocer finds the honesty in Hamlet, equal parts vengeful and calculated. He’s best in the final scene, as he shows range of honest emotion most actors would be jealous of. It’s a breakthrough performance for him.

The entire rest of the cast deserves to be individually commended. As Claudius, the usurper of the late Hamlet’s throne, Matt Witten is terrific. He carries himself with regal authority, and yet allows us a window into a guilty conscience rather effectively. His counterpart is Kristen Tripp Kelley, as Queen Gertrude. She’s commanded the ICTC stage before, but this is a role she’s almost born to play. She brings strength to Gertrude, a quiet dignity. She’s written to command and obey her second husband, but LoConti Alcocer and Tripp Kelley have obviously coordinated to strengthen her resolve. It’s a 2019 take without being in your face about it. Another pillar of female Shakespearean resolve comes in the form of Anna Krempholtz as Hamlet’s one-time lover Ophelia. The language comes easily to Krempholtz, and so it lets her work wonders in little stage time. It makes for an even more heartbreaking “get thee to a nunnery” scene. Expect continued big things from Krempholtz in the future. As Horatio, Adam Yellen’s performance might just steal the show. There aren’t many people Hamlet can count on, and so Yellen’s performance is expertly crafted; he’s the model of a true friend, protecting his dear Hamlet to the end. As Hamlet’s light dims, and “all the rest is silence,” we see Horatio clutching his lifeless friend. We believe Yellen’s Horatio would drink the poisoned cup.

In supporting roles, Chris Kelly is a simple and elegant Pelonius. He’s another that very easily functions with the heightened language. He also serves as the Gravedigger, a rather hilarious modern take. Ever the face of versatility, Kelly is up to the task. Jake Hayes and Peter S. Raimondo show a similar versatility; they play six characters among themselves, most notably Guildenstern and Rosencrantz, respectively.  Rolando Martin Gomez is a stoic and troubled Ghost, with a very corporeal feel. It’s an interesting take by LoConti Alcocer, and it certainly adds to the hurt Alcocer’s Hamlet must feel. Finally, Patrick Cameron is well suited for his role as Laertes, a man who is always sure of what he wants and with an excellent sense of right and wrong.

The entire artistic team on this production is to be commended for aiding this well-oiled machine, but Costume and Set Designer Jessica Wegrzyn’s work stands out, especially when it comes to costumes. I’m a bit of a Shakespeare enthusiast, but it appears so is LoConti Alcocer. It’s a good thing, too, because what says “classical” better than the Bard?

Run time 2:45 with a 10 minute intermission.   

“Hamlet” runs until May 19, 2019 and is presented at Irish Classical Theatre. For more information, click here.