Adrienne Costello and David Paterson’s ‘Hamlet’, is a dark retelling of the Shakespearian classic, now set in war times and shown in the underground of the Spring Hill Reservoir.
It’s the end of World War II, and a group of military refugees are on the run. They find themselves in a bunker where they must overcome the effects of psychological trauma from war, and the mind games that are being played within. HeartBeast Theatre's Adrienne Costello is one of two directors. “I want the audience to question why people behave the why they do. Question the things they are doing,” Adrienne says.
The paranoia and psychological aspects that already exist in the play are now being heightened under Adrienne’s direction. It is, by nature, a psychological production, as is the original play of ‘Hamlet’. Adrienne describes the play as “using scenes a lot”, to move the narrative.
The concept for the production comes from the idea of people being watched, and paranoia. “Who is watching who? Who is doing what and who determines what is happening?”. The creators had to think of what period in history this paranoia would have been at its highest and war time seemed to fit perfectly. The art of deception comes into play within the production, forcing the characters and audience to question: is what they are seeing truly as it appears to be?
“We are playing around with that notion. The very idea of paranoia and what causes it. Who is watching who?” Adrienne says. The play is being set out in a promenade fashion that immerses the audience into it. They are expected to move with the play, along the six different stages being used in the reservoir. “It allows the audience to enter into this dark world. So they are with us, moving with us, as the story progresses,” Adrienne says.
The play has been specifically set up for this space. The show will only run at the Spring Hill Reservoir. The space sets the scene for the plot that Adrienne believes wouldn’t work as well anywhere else. References of war are seen all throughout the original play of 'Hamlet', they have been taken out of the dialogue for this and been transformed into the sound scapes, by sound artist Paul Young. Instead, the aesthetics of war are coming from outside of the bunker and what is happening beyond the walls.
Hamlet is a hardened soldier of war. There is supposed to be a grittiness about this character. The protagonist and other characters affected by war are supposed to be people consumed by paranoia, and trying to live with the post-traumatic stress from the horrible things they have seen. “I want people to walk out and think Hamlet was a prat. That he was self-indulgent,” Adrienne says.
The set is designed to use junk and recycled material to create the effect of a bombed bunker, everything down to the half-dozen milk crates that will be used for seating. The point is not to be sitting for the play, but to become part of it and follow the journey. The audience is going to be transported inside the bunker.
“I want people to come out and be thinking about it a few days after, have it resonate in their heads.”
