Teatro La Plaza: Hamlet by Teatro La Plaza Review
Written by Cathie for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Was there ever a tale more boldly transformed than that of Hamlet and his immortal question of being? In an extraordinary reimagining by Peruvian company Teatro La Plaza, director Chela De Ferrari has meticulously crafted a production that is as stirring as it is unique. This production is centred entirely around the most famous scenes from the infamous tragedy, with the renowned “to be or not to be” monologue comprising the biggest scene. However, this show is unique in that it is part retelling of Hamlet and part office series style meditation on the nature of theatre and of the actors themselves ‘behind the scenes’. This production is specifically created due to Jaime Cruz’s discussion with Ferarri of his longing to play Hamlet and his difficulties in finding acting roles. Therefore, this entire production is centred around the eight performers (Octavio Bernaza, Jaime Cruz, Lucas Demarchi, Manuel García, Diana Gutierrez, Cristina León Barandiarán, Ximena Rodríguez, Álvaro Toledo) experience of society and Shakespeare through the lens of their Down syndrome.
The initial run in 2019 has proved so successful that it is now undergoing an unprecedented world tour spanning five continents and 37 cities. The performance I attended to review was relaxed and explained with clarity and care. The thoughtful provision of support services stands as a brilliant example of accessibility that all theatres would do well to follow. The show is spoken in Spanish throughout, as it is created by a Peruvian company, although there are subtitles supplied on a screen behind the performers. Although deeply humorous and quick-witted throughout, this production also contained many incredibly profound moments that held the audience spellbound. Particular highlights included three of the performers reading their own hopes and dreams as ‘Ofeila’ which include motherhood, independence and romantic love, along with “Jaimlet’s” retelling of “to be or not to be” which was a boldly resonant shout for visibility, dignity, acceptance and autonomy in a world that too often disregards those who are “other”. Much of this production focused on community resilience and teamwork as opposed to Hamlet’s decline into violent insanity, where the focus on the “othering” of Hamlet is that he is rewritten to have Down Syndrome and is politically attacked and defamed as a result.
At 1 hour and 30 minutes straight running time, the performance felt like it joyfully spun through the play whilst using it as a megaphone to explore the hopes and dreams of the performers as well as the painful challenges they face and their difficulty in being allowed to act on their own autonomy. Although the set was a basic rehearsal room style, it was full of hidden quirks and able to quickly adapt to the ideas of the cast, with many transitions marked by dances, video calls, cameo moments, musical songs and literal explorations of the dressing rooms. There were many brilliant immersive parts to the show as well, including inviting members of the audience to act out key parts of the play and a magnificent dance party at the end to celebrate everyone’s individuality and right to self-expression.
As Shakespeare states best, “this above all, to thine own self be true”. This cast certainly has more than lived up to that adage and showcased all of their brilliant acting strength in this production to make Hamlet livelier and more exciting than ever before. This production is a triumph of theatre and reminds us how Shakespeare should be accessible to everyone. It is also a poignant and powerful reminder that everyone’s voice and opinions have an equal right to be heard at society’s table in the discussion of human rights and freedom. If you enjoy theatre that uncovers and reflects upon the soul of society, is a love letter to the Bard and a joyful exploration of individuality, then this is the show for you.
★★★★
