Hamlet Review: Deconstructed Take Centers People with Down’s Syndrome

Anyone attempting to transform Shakespeare’s tragedy of the melancholic Danish prince into an uplifting experience does so at their peril. Yet, Peruvian theatre company Teatro La Plaza’s interpretation takes on the challenge with a focus on centering the stories of individuals with Down syndrome within the broader drama.

Written and directed by Chela De Ferrari, the production is upbeat and brims with charm, humor, and imagination.

It straddles the line between being Shakespeare’s play and a contemplative commentary on it. Selected scenes burst with energy and creativity, but the overall narrative remains loosely connected and somewhat opaque, serving more as a critique of Shakespeare’s Hamlet – and, by extension, our world – than as an actual reenactment.

Included in the Edinburgh International Festival and performed in Spanish with surtitles, the play effectively draws a parallel between the outsider status of Prince Hamlet and the societal position of someone living with Down syndrome. The deliberate blending of the actors’ lives with the characters they portray underscores the comments on how society treats those with disabilities, painting it as a “rotten state.”

While Laertes is absent, Polonius’ well-known advice is earnestly delivered to his daughter Ophelia (Ximena Rodríguez) about being “special” in an unaccommodating society. King Claudius asserts that Hamlet cannot inherit the throne due to his “terrible condition.” This modern twist provides a brilliant reflection on ableism.

Adding to this are meta-theatrical layers engaging with the lore of the play and adapting canonical works to be more inclusive. One standout moment pits a recorded film of Laurence Olivier’s Hamlet against the troupe’s energizing rap rendition of “To be or not to be,” led skilfully by Álvaro Toledo. This blend of classic and modern elements captures the essence of the production.

The play is both playful and intellectual. However, the frequent dazzling reconceptualization sometimes overshadows the narrative, resulting in a deconstructed Hamlet. A narrator steps in occasionally to summarize the plot, but the pacing is leisurely and the focus often broadens, making the story diffuse.

Nevertheless, the exceptional eight-member cast, all of whom have Down syndrome, brings an infectious charisma to the stage. They interchangeably portray the character of Hamlet (starting with Jaime Cruz), and at times, three actors take on the role of Ophelia simultaneously. Their fiery energy reels the audience back in, making the production immensely captivating.

The lighting by Jesus Reyes and choreography by Mirella Carbone create striking effects in musical and movement interludes. A back-screen featuring both live and recorded footage merges seamlessly with the on-stage action, although no single effect is sustained long enough to fully develop themes such as surveillance from the original play.

The play truly comes alive in its joyful moments. The traditional bloodbath ending is replaced by an uplifting finale, with the audience invited to dance on stage with the cast, resulting in a lovely, life-affirming experience. Hamlet reimagined as a celebration of community and joy? It works beautifully.

• At the Lyceum, Edinburgh, until 17 August

Source: The Guardian