Nathan Winkelstein is not the first actor-director to trod the boards as the Melancholy Dane, but he is one of the successful ones.

Ript Theater Company's inaugural production of Hamlet boasts a 90-minute running time and four person cast: the second four person Hamlet in as many years (Bedlam having done the feat in rep with Saint Joan before).  With such a sprawling tale and such a limited scale to perform, it was possible going in that this Hamlet might fall literally short. 

Gone is not only Fortinbras - who is frequently excised anyway - but also Rosencrantz and Guildenstern, whose loss causes surprisingly few ripples, despite what Tom Stoppard might argue otherwise.  The heart of the play, as director Winkelstein says in his notes, is a focus on the two families, as well as the "types" that exist in Hamlet's world: the Soldier, the Comforter, the Father.

The conceit is straightforward.  Although those who don't know the play may have a few moments of adjusting which character is which if the script doesn't say outright.  Most successful in aiding these character transitions is Chauncy Thomas whose articulation, physical choices, humor, power, and intelligence immediately make his Polonius unrecognizable from his Claudius, even if played in scenes one behind the other.

Lindsay Alexandra Carter gives an admirable Ophelia, although she hasn't quite grown into her own gravitas for Gertrude.  When finally allowed to play a character role, she breathes new life into Osric, which only makes this reviewer sad that Shakespeare didn't write his women as strongly as his clowns.

Ade Otukoya has a good fire and vitality as Laertes and Horatio, but more difficulty separating them as different characters for the audience to understand.  He, too, is excellent as his clown roles, particular his Lead Player and Gravedigger: tools that it would be helpful for him to bring into his angry young men.

And as for the angry young man himself?  Well, caveat spectator, because the role of Hamlet is so intensely personal that you can see a dozen truly competent, perhaps even brilliant Hamlets and remain unmoved if for some reason you don't resonate with the actor on the stage.  But for me, Winkelstein's Hamlet was just the Prince of Denmark I like best: delivering his soliloquies with respect to the verse but without slavishness, honestly asking the questions of the audience, making the old words new again as he puzzles through his predicament.  Winkelstein particularly shines whenever he lets his inner snark out, speaking with an easy conversation and intelligence, a twinkle in his eye that he's cleverer than you, an openness and freedom in his movements that explain his dexterity in the final fight scene (excellently choreographed by Cat Yudain).

It's worth appreciating, too, how Winkelstein cut the script to make a 90-minute Hamlet not just one long soliloquy interrupted by short scenes, but a true sense of ensemble.  A vanity project, this is not.  Each character has the chance to shine and tell their story.  A few pieces do go on too long: Act IV, as always, could be cut in half and half again and I'd be satisfied.  And after a glorious movement piece enacting Ophelia's death, I did not need Gertrude's speech describing the same.  Similarly, although the Osric scene is perhaps a quarter of its length, by the time we round into Act V, I'm happier when it's cut.

There are some smart directing choices here, too (as old Shakespeare fans go crustily to theatres to see What The Director Will Do).  Winkelstein takes care not to let his Hamlet fall into the trap of misogyny - a view that Bedlam did not escape - so that this Hamlet is truly trying to save Ophelia in the nunnery scene, to appeal to his mother's reason in the closet scene.  Even with his occasional flashes of cruelty, they're a lover, a child lashing out: not a grown man assaulting women.  An important distinction in this day and age.  Likewise, the delivery of "Now might I do it pat," when Hamlet chooses not to kill Claudius, is delivered with such intelligence and intelligibility that it's a real stand-out, and explains the actions of the man who might lose the name of action.  Too good to ruin are how the opening stage moment and the ending stage moment bookend, but needless to say, it's a device future directors might think worth stealing.

The sound design by Alan Waters, light design by Paul T. Kennedy, and set design by Melissa Anderson all work in harmony.  Especially for the aforementioned drowning of Ophelia, which is hauntingly realized.  Special mention must go to costume designer Sarah Marie Dixey for see-through and distressed doublets with an edge of punk - and the use of white paint as blood.

All in all, this is a Hamlet well worth seeing, and a theatre company to keep an eye on.  In our current New York theatrical landscape, where "clever" Shakespeare is sometimes held more highly than telling the story cleanly and with emotion, it's refreshing to see a company that manages to do both.  Highly recommended.

Nathan Winkelstein, stars in and directs Ript Theater Company's Hamlet. Playing at the Secret Theatre in Queens through to September 30, 2018.

TICKETS

All photos courtesy of Reiko Yanagi

Ript Theater Company's cast of Hamlet.  From left to right: Nathan Winkelstein, Ade Otukoya, Chauncy Thomas, and Lindsay Alexandra Carter.

Hamlet (Nathan Winkelstein) and Ophelia (Lindsay Alexandra Carter) in the Nunnery Scene.

1) Tell us a little bit about yourself!

I am a New York City based Classical Theater enthusiast. I have performed, directed and produced classical theater for most of my adult life. I have had the great privilege of serving as associate producer for Red Bull Theater for the past few years assistant directing and performing in a number of their shows. This is my first leap into the unknown of self-producing.

2) This is a four person, 90-minute Hamlet.  What inspired that decision?

Three years ago while re-reading Hamlet I was struck by the family drama at the core of the play and became fascinated by how best to draw this out in a production. As I hewed and chipped away at the text, cringing with each cut line and trying to preserve the verse 3 archetypes started to emerge - The Father, The Soldier, The Lover.
 
Each of these three archetypes serve to punctuate Hamlet's perception of the world. Hamlet views Claudius, Polonius, even the Lead Player, through the lens of his dead father. He views his young companions or enemies - Horatio, Laertes through the soldierly lens of honor and friendship. Finally Gertrude and Ophelia are both defined by Hamlet primarily through love - his romantic love for Ophelia, confused loved for Gertrude and their love for others, most especially Gertrude's for Claudius. 
 
I began to focus my efforts on drawing these archetypes out, which Shakespeare made quite easy, a sign, I hope, that I was on a correct track. Eventually, a 4 person 90-minute Hamlet was born.

3) Why Hamlet?  Why now?

Hamlet, both the character and the play, is about asking questions. Audience leave Hamlet with more questions then when they arrive. They are inspired to stop and think, like Hamlet himself, about their actions and the world at large. In an era of social media and clickbait watching a play about a man who contemplates his decisions and indeed his existence and being forced to contemplate these things in oneself makes Hamlet as vital and current as ever.

4) What is your experience with Hamlet before this?  Are there any iconic actors who have inspired you?
 
Hamlet and I have dance around each other since I was young. I have memories of reading the play curled up on the couch of my mothers law office when I was a kid. In my teenage years I was struck again by this quintessential 'Angry Young Man' play as I think many a teen might be. As I have aged into the role the philosophical aspects of the play have become more cogent. Hamlet ceased to be the clear heroic protagonist in my eyes and became a flawed, hurting young man attempting to accomplish a Herculean task and making a mess of it.

I adore Rory Kinnear's Hamlet. The trust he has in the language to guide him through his performance is extraordinary. In addition to that his trust in himself is astonishing. Hamlet is beloved because the crisis the Hamlet goes through are universal. They are family oriented, loss oriented, jealousy oriented, morality oriented - all issues that anyone on the planet can tap into. This also makes playing him terrifying because you have to accept that YOU are enough. Your way of handling these issues is enough and will fascinate the audience because they live it through you. Rory does that throughout his performance.

5) You're also producing and directing.  Walk us through your process.

Basically its about separating the boxes. Production is its own animal and the concerns there - finances, audience, theater relations - are left at the door of the rehearsal room.
 
Directing and Acting is more difficult to separate. I decided self-direct this project for a couple of reasons. Some logical, some emotional. This is a heavily cut script, cut with a very particular vision in mind. It would have been extremely difficult for another director to come in and fully utilize their abilities with a vision already in place as it was. It wouldn't be fair. So why play Hamlet? Well, first of all I very much wanted to I wont lie about that. Secondly in the off-off world of short rehearsal times and performers needing to work day job and split their attention I felt like I could give this character the time he deserved because I could start on the work months out from performance instead of weeks.
 
All of that said, the double is incredibly difficult. I am fortunate to have an AD in Cat Yudain whose eye I trust and who is not afraid to direct me. I am also extremely lucky in my cast. Lindsay Alexandra-Carter who I first saw performing Rosalind at The Folger ShakespeareTheater is a brilliant, instinctual performer with an incredible acuity with the language who is not afraid of the big scary choices. Ade Otukoya, who I met while we were both performing at The Shakespeare Theater Company is one of the most instinctually brilliant performers I have had the pleasure to work with, his ability to simply exist on stage while fully engaged in the circumstances and the character is astonishing (this sounds easy, trust me, its the hardest thing in the world). Chauncy Thomas is a pro. He is plug and play brilliant. He will make any director look great with his ability to incorporate and justify notes with alacrity and specificity.  Importantly, all three are also excellent at working under collaborative circumstances and sharing ideas while always keeping the end goal in mind. 

6) Tell us a little bit about your new theatre company.

I created Ript Theater Company to be able to produce fast-paced, performer centric classical work. I have grown tired of the semi-prevailing belief that Classical plays need particular concepts to succeed, a belief that is rooted in a lack of faith in the source material. I have complete faith in the classics. Ript  will cut scripts because audiences attention spans and expectations for dramatic work are different now than in Shakespeare's time (or ancient Greece for that matter) but the cuts will always remain true to the structure, language, and purpose of the original text. Combining this text with talented casts who know how to spin the language is the second half of the equation. One of the many reasons I created this Hamlet to be performed only with four performers was that I knew the quality of the roles would increase while the quantity of actors would decrease. This, along with the connections I have made in my work at Red Bull Theater and elsewhere, allows me to go after the quality of actor that I think is often difficult for young companies to garner. Between the quality of the language (the greatest perhaps ever written) and the quality of performers I have two very strong pillars of quality to build upon. To create theater that is modern but loyal to what made it great to begin with.

7) Anything else you'd like to add?

Small theater companies life blood is ticket sales. Support your local theater groups wherever they are. In todays theatrical climate it is the artists building themselves up now in off-off broadway who will be most well equipped to handle the looming financial difficulties in our industry as we are squeezed by governments and large grant organizations. Go see shows, some might be bad, but rarely will they be boring, and some may very well be great!

Director-Actor, Nathan Winkelstein takes center stage in Hamlet.

Hamlet plays at The Secret Theatre, Queens, NYC from Sept. 13-30.  Presented by RIPT Theater Company.

 Tickets here.

Nathan Winkelstein as Hamlet, confronts Claudius (Chauncy Thomas) in the confessional.

Instagram
Facebook

RIPT THEATER COMPANY is a New York City based company devoted to bringing classic tales to vibrant life through innovative productions, new adaptations and performer centric work. We believe in the power of the words of the great classicists, be they Shakespeare, Moliere, Aphra Behn or Euripedes to move us and deepen our understanding of our world and our times.Our inaugural production is HAMLET (What Dreams May Come). Four performers embody all of the characters in this innovative new Hamlet; a fast paced, non-stop whirlwind of mind and body as rational thought battles with hysteria.

FEATURING
Lindsay Alexandra-Carter*
Ade Otukoya
Chauncy Thomas*
Nathan Winkelstein*
*Actors appearing courtesy of Actors Equity