Faction of Fools' HAMLECCHINO is Hamlet like you've never seen him before

Photo By: C. Stanley Photography

To laugh or not to laugh? That is not the question.  In Faction of Fools’ HAMLECCHINO: Clown Prince of Denmark, the pensive and tormented character of  Prince Hamlet is infused with the comedic spirit of Arlecchino, the servant-like Commedia dell’Arte character, to create a fresh take on the prince who must avenge his father’s death. 

Hamlecchino (Matthew R. Wilson) was already feeling uneasy about his father’s death and the speed with which his mother, Queen Gertrude (Eva Wilhelm) gave her affections to Claudius (Billy Finn), the elder Hamlet’s brother, and Hamlecchino’s uncle, who is now the King of Denmark.  Learning that Hamlet was overthrown in a treacherous murder plot carried out by his uncle King Claudius, further tortures Hamlecchino, as he becomes “a rogue and peasant slave” to the retribution he must carry-out.

Taking on the nimble characteristics of Arlecchino, Hamlecchino is seen bouncing around and reasoning aloud to himself about whether and how he should seek revenge against King Claudius.  But all this talking aloud about his uncertainty, agony, and contemplation of suicide, lead the characters to believe that Hamlecchino’s madness is due to his unrequited love of Ophelia (Emma Crane Foster).  The inaction of Shakespeare’s Hamlet is intensified by Hamlecchino’s foolery, as he sways between intense protestation of his duty, and a lamenting for the lack of passion he has to get the job done.  Yet we see him accidentally bring Polonius to his grave, for which he shows little remorse. Hamlecchino merely breathes an unsympathetic “farewell” after seeing Polonius (Toby Mullford), the father of Ophelia, fall at his hands.

The nimble Hamlecchino, played by Faction of Fools artistic director, isn’t the only character refashioned with a whimsical façade in this slapstick comedy.  In fact, we see many of the stock characters of Commedia dell’Arte adapted to HAMLECCHINO.  Pulcinella materializes as the apparition of the elder Hamlet that only Hamlecchino and some foot soldiers can see. Polonius is the know-it-all-character, or the Dottore, who is actually far from it, and his daughter Ophelia along with Laertes (John V. Bellomo) are the innamorati, the over dramatic lovers who are more overtaken with the idea and emotions of love, than their object of affection.  Gertrude is the easily aroused Donna Zezza, and Claudius the infiltrating Capitano.

It is not only the commedia dell’Arte characters that lend themselves to this re-envisioned Hamlet, but also the antics of the 16^th century theater that we have come to know and love while laughing at the Fools for the past three seasons. The out-of-place limbo dance and calypso music as the Norwegians seize Denmark; the skull that is found during grave digging that Hamlecchino moves to sing a ‘”cha-cha-cha” ditty as he reminisces that it was his favorite jester; Polonius trying to communicate with Rosencrantz and Guildenstern through gestures and slow speech, even though they are using ASL; and plenty of sexual innuendo add to the comic relief of the serious plot.

Amazement doesn’t stop in HAMLECCHINO.  Amelia Hensley and Marianna Devenow, two Gallaudet students that play Rosencrantz and Guildenstern, give added depth to the player’s use of over–the-top physicality. Ophelia’s ribbon-climbing acrobatic scene and dramatic song near her death marvel, while also setting a more somber tone.  And the intense sword fight that leads to death of most of the characters is well choreographed, but may leave some front-row audience members anxious about their own fate.  One lucky one might just catch the crown!

 

HAMLECCHINO, the final show of the Faction of Fools’ third season is playing at Gallaudet Thursdays, Fridays, and Saturdays at 8 pm, and a matinee show on Saturdays (2 pm), through May 19  -  Follow the link to buy tickets.

Review: Faction of Fools - A Commedia ROMEO AND JULIET brings Shakespeare's wit to life

Photo by Clinton Brandhagen

" Do you bite your thumb at us, Sir?"

" I do bite my thumb, sir."
"Do you bite your thumb at us sir?"

Almost every high-school student reading Romeo and Juliet for the first time understands the tragedy of the ill-fated lovers, but Shakespeare's humor can be lost in translation.  Enter Faction of Fools' version, "A Commedia ROMEO AND JULIET," where the physical spectacle serves the interpretation well.  Faction of Fools is a D.C. theater company celebrating Commedia dell'Arte, a theater style that grew out of 16th century Italy.

While the original tragedy of the text is not ignored, under the artistic direction of Matthew R. Wilson, "A Commedia" excels in bringing the original humor of the text into focus.  The five-character ensemble executes one cleverly choreographed scene after another in an 80-minute, high-octane version of Shakespeare' Romeo and Juliet.

From the exaggerated slow-motion sword fight between servants of the quarreling houses, to Juliet's dance of avoidance with Paris, the arrogant and effeminate dandy to whom she is betrothed; and Juliet's eyes darting back and forth as she impatiently awaits the effects of a sleeping potion, the physical spectacularity juxtaposed against the familiar scenes of tragedy, allow both extremes to be more appreciated.

Although both the play and the Commedia dell'Arte style are from the times of the Renaissance, it is clear from the infusion of 21st-century humor that "Faction of Fools" has not forgotten about the audience.

For example, after giving Romeo a kiss good night and agreeing that they would meet the next day, Romeo's asks Juliet, "O wilt thou leave me so unsatisfied?"  She suspiciously retorts, "What satisfaction canst thou have tonight?" with the attitude of a modern women.

In following the conventions of Commedia dell'Arte, each of the cast members play several different  characters.  Switching roles is as easy as changing a mask, flipping a double-sided costume, or changing the inflection in one's voice.  Often, the haste with which characters change adds to the hilarity, as in the case of Mercutio morphing into Lord Capulet, or Romeo into his dad, Lord Montague, in quick succession.

All of this livens a stage that, without the actors, is set with just two back drops of black fabric.  The only props used are a few stackable wooden boxes that are transformed through every scene, versatile enough to represent columns in the Lord Capulet's house, a cross and a confessional at the monastery.

Still, the lack of props also brings opportunity for more entertainment, from which Faction of Fools does not shy away.  The momentary breaks in the play where cast members integrate their own comedy of errors, don't get in the way, but rather add to the spectacle.  When "Mercutio" takes longer than necessary to arrange the wooden crates for the next scene, he notes that he would kill Rubik, if given the chance.

When the young lovers meet alone for the first time outside of Juliet's balcony, she leans towards Romeo who is perched upon a wall, and cast members push the two close - very close - together, after the movement upon their wooden boxes has caused the castor wheels to create distance.

And after Romeo, Juliet, and Paris are all found to *actually* be dead in the tomb, Friar Lawrence is briefly implicated, having been found bumbling around outside the tomb.   The friar recounts the story of the star-crossed lovers in a Clue-esque fashion; wherein the dead Juliet, and substitute dummies of Romeo and Paris, are tossed like rag dolls from one character to another.

"A Commedia" is not all jokes, we do feel the anguish brought about by the death of Tybalt and Mercutio, as well as Lord Capulet's tirade toward Juliet when she rejects her father's wishes to marry Paris.

Still, in the traditional version of Romeo and Juliet we are left with a bittersweet feeling, but to the audience's pleasure "A Commedia" squeezes every last drop out of this farce.  After reciting the  famous closing lines, "There never was a story of more woe, than this of Juliet and her Romeo," the page turns back to the audience melodramtically with a sad face that emulates an emoticon.  Indeed, even the curtains are closed with a giggle.

Editor's Note: "A Commedia Romeo and Juliet" is on stage at the Mead Theatre Lab at Flashpoint, located at 916 G Street, through February 4th. Faction of Fools' next production of the 2011 - 2012 season will be "Hamlecchino: Clown Prince of Denmark," playing April 26-May 19th at the Galludet University's Elstad Auditorium.