Hamlet: a privilege to witness such an astonishing performance
Paranoid, delusional and bitterly cruel, Jonathan Slinger throws himself full throttle into the extraordinarily complex role of Hamlet. It is astonishing to witness.
Having seen Slinger perform as another madman - the misfortunate Malvolio in the RSC’s 2012 production of Twelfth Night, it was a privilege to be able to appreciate the mastery of the actor, whose take on Hamlet is so very different to last year’s performance.
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Hide AdAt first the moody, grieving son that we pity, Slinger’s Hamlet is rapidly consumed by torchuous anger, jealousy, betrayal and a terrible hatred - so much so that we come to detest the man. His passionate nature is apparent from the beginning in his dagger-like facial expressions and emotional reactions - and this is manipulated to become very dark and dangerous.
A particularly cruel scene is Hamlet’s absolute rejection of Ophelia (Pippa Nixon), for whom not so long ago he had displayed such affection. We twist our faces in horror as he drags the waif-like lady to the ground, wrenches off her clothes and smears mud on her face. Nixon too must be commended for her empathetic portrayal of this bold and intelligent young woman who suffers such degridation that she is also consumed by a helpless madness that is so very sad to see.
Unexpectedly, King Claudius (Greg Hicks) - who, having murdered his own brother (Hamlet senior) and married his mother so he could be king, ought to be the ‘bad guy’ of the piece - comes across as rather likeable. He is a noble, ‘king-like’ character, who is good to the Queen and speaks kindly to his nephew and, despite knowing what he has done, I found myself sympathising with him. Perhaps this is because Slinger’s Hamlet by contrast is so uncomfortably unpleasant.
This is a long play and psychologically intense - but it is an incredible spectacle worthy of every minute.
Sundari Cleal