Running a total of three and half hours with two intermissions, the Theater for a New Audience’s production of Hamlet at the Duke Theater, like the character Polonius, fails to be brief. Fortunately, director David Esbjornson made every line count and managed to keep almost everyone in the theater, and fully engaged.
In order for a modern production of such a canonical (and ubiquitous) play as Hamlet to succeed, it must unearth new mysteries. Shakespeare buffs will easily revert to the usual banalities such as “how will they decide to stage the ghost?” These questions are inevitable, but a stellar production must transcend them to acquire sufficient raison d’etre. In Esbjornson’s version, that compelling, thought-provoking tension stemmed from a dexterous treatment of moral ambiguity and emphatic emotion. The set was a minimalist yet seductive blend of shifting black, whites, and grays; each tone a deliberate but naïve instrument of inevitable confusion and discontent.