Hamlet

DIRECTOR Lenka Udovicki
SCENIC DESIGNER Torry Bend
LIGHTING DESIGN Roz Fulton

Shakespeare’s classic tale of Denmark's favorite son; his anger driven homecoming and the tragedy that ensues. Set with no defined time or space, the world of the play hangs in limbo, neither past nor future but a mixture. Denmark's past is stripped away ahs the from today’s American symbolism. Classic imagery of iconic power lay hidden in raw scenic gestures. Columns of exposed rebar and mesh cages evoke a sense of vacant power. The medallion on the floor conceals a glowing smaller circle. Here’s we find the podium, positioned for Claudius' convention styled address to of his intent to claim he deceased brother's throne and wife.
Hamlet's troupe of actors are seem like American Idol contestants, singing a rock opera version of The Mousetrap, and Hamlet, a sullen teen with a black wardrobe.
The play is still classic, and the still refer to Denmark, but the American influence is unmistakable.

Lighting this play meant invoking elements classic to American imagery: from the gaudy political convention, to the mass media, and a touch of Rock n Roll. The columns were lit from underneath to create strong shafts of that could change color when needed. The metalic floor medallion was divided into slices of light, allowing for shaping and manipulating, but emphasizing it's lines, like a flattened capital dome.

Tall doors within the set made for grand lighting opportunities. Gestures representing both the interior and exterior locations divided the space in for different scenes. In the rain, Ophelia paces frantically singing old bar songs. Her descent into madness starts as consuming grief over her fathers’ death, but as she paces the courtyard in delusion, Claudius’ shadow creeps towards her, looming, and she runs off in fear.

The fight between Laertes and Hamlet is similar to a boxing match in shape, as shafts of light fill the floor medallion circle, creating a boundary for the young men to battle on. The grand epilogue by Prince Fortinbras of Norway book ends the piece in a political image of focused beams and follow spots, evoking the inauguration look for Claudius, as a new leader takes over.