Comedic actor is a revelation in Utah Shakespeare Festival’s “Hamlet”
The new Utah Shakespeare Festival production of “Hamlet” might just be the best version of the Bard’s beloved play you’ll ever see.
That’s the word from many festival patrons this year. To step away momentarily from the third-person perspective I typically use in my reviews, it is easily the best version of “Hamlet” I have ever seen — and I saw it performed by the Royal Shakespeare Company in Stratford-upon-Avon, William Shakespeare’s birthplace.
There are two primary factors that make this a masterpiece: Quinn Mattfeld and Brian Vaughn. As star and director, these two longtime festival favorites offer up their best work yet.
Those familiar with Mattfeld’s acting might initially question his casting as Hamlet. After all, “Hamlet” is Shakespeare’s most famous tragedy — a drama about murder and madness. And Mattfeld is known — deservedly so — for his comedic roles, including sidesplitting turns as Gary in “Noises Off!” (2011) and Black Stache in “Peter and the Starcatcher” (2013).
That comedic background is precisely why Mattfeld is so stunningly good as the infamous Prince of Denmark. It is often said that comedy is more difficult than dramatic acting, so some of the best actors are those with humor running through their veins. It certainly seems to have prepared Mattfeld well to play this famously brooding role.
It’s an absolute treat to hear him deliver the “to be or not to be” speech. It’s a line so well known that it’s almost surprising to hear it in context and realize this is the work that originated it. But Mattfeld’s intuitive delivery reminds us that it’s actually part of the plot, not just the most famous line in all of English literature.
What makes Mattfeld’s performance special, though, is not simply his dramatic acting chops. Shakespeare actually wrote quite a few funny lines in “Hamlet” — lines that are often overlooked, or perhaps underplayed, because the actors typically cast in the play’s eponymous role don’t have the comedic background necessary for those lines.
Mattfeld’s take on Hamlet is a revelation. One can’t help but think this is how the Bard intended the role to be played.
The actor brings his all to the character, catapulting from angry tirades to heartbreaking frailty, from sarcasm to derangement, and doing it with an almost Michael Keaton-like zaniness.
During “Hamlet” we observe a master craftsman — an actor who knows exactly where to place the humor, relieving the tension built up by “murder most foul” just when the audience needs it most.
Part of this pacing success should be credited to Vaughn as the director. While longtime USF fans have adored Vaughn’s acting for many years now, the festival’s artistic director is increasingly known for his work in the director’s chair, including spectacular productions of “Shakespeare in Love,” the aforementioned “Peter and the Starcatcher,” and multiple history plays in recent years.
And having played the title role in “Hamlet” himself, Vaughn is intimately familiar with the story. In fact, many of the characters have a relaxed and natural diction, not unlike Vaughn’s own characteristic delivery and likely a result of his direction.
Vaughn’s artistic vision is spot-on throughout the play, from the balance of humor and heartbreak to some surprising twists not found in Shakespeare’s text, but entirely possible within the subtext. Just wait until you see how he handles the subject of Ophelia’s fate.
Among the many memorable scenes is the moment where Hamlet interacts with the ghost of his murdered father. He drops to the ground as snow gently falls upon him in the spotlight. It’s mesmerizing. It’s perfect.
Part of Vaughn’s success is how he collaborates with the technical crew for these moments. Lighting designer William C. Kirkham’s work is integral to the ethereal qualities of each ghost scene. And the spookiness of those scenes is enhanced by Joe Payne’s sound design.
All of this takes place on Jason Lajka’s gorgeous, palatial set while the actors are clad in Bill Black’s beautiful threads. The setting and dress both evoke Imperial Russia, a conscious choice by Vaughn who writes in his director’s notes that his vision for the play was inspired by Leo Tolstoy and Anton Chekhov, highlighting a kingdom of repression, arbitrary rule, and extreme nationalism resulting in anger, divisiveness, and despair.
It all adds up to a production that feels almost like an art house film — a period piece that would be nominated for all sorts of Oscars. This entire package is a step above your average theater fare, even for the reliably solid production quality of the Utah Shakespeare Festival.
Of course, the actors are a large part of that, and it’s not just Hamlet’s show. While Mattfeld gets many of the most famous speeches in the English language thanks to his title role, Armin Shimerman gets a few of his own as Polonius, Ophelia’s father. He shines while advising “to thine own self be true” and humorously noting that “brevity is the soul of wit.”
And Emma Geer is luminous as Ophelia. She portrays both her sadness and her madness authentically. And she says as much with her eyes as she does with her words.
Truly, there are many things to love about this production. Obviously, Shakespeare’s script is a masterpiece, and Vaughn directs it to perfection. But ultimately, it’s Mattfeld’s absolutely brilliant performance — his mastery of acting craft — that will make this one of the most memorable productions in the history of the Utah Shakespeare Festival.
In one of the most famous scenes from the play, Hamlet holds the skull of Yorick, a deceased court jester, and praises him as “a fellow of infinite jest, of most excellent fancy.” We too have known “a fellow of infinite jest” for many years now at the festival, but with “Hamlet,” Quinn Mattfeld has shown himself to be worthy of that title and so many more.
The Utah Shakespeare Festival’s production of “Hamlet” continues through Oct. 12 in the Randall L. Jones Theatre at Southern Utah University’s Beverley Center for the Arts in Cedar City. Tickets are $32–$77. Visit bard.org or call (800) 752-9849.
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