Barrington Stage Company, Pittsfield, MA
through August 3, 2019
by Stacie Beland
 |
| Photo by Daniel Rader |
Barrington Stage Company has created an absolute masterpiece
with their presentation of “Gertrude and Claudius,” a new play by Mark St.
Germain based on the novel by John Updike. The story takes place prior to
Shakespeare’s “Hamlet,” wherein Hamlet plots to avenge the murder of his
father, killed by his mother (Gertrude) and uncle (Claudius), who have engaged
in a treasonous love affair.
“Gertrude and Claudius” allows us to see the characters as
their relationship blossoms, and Hamlet is largely absent—though referenced
frequently. It is a love story as only Updike could write: A woman who goes through the motions of
life, she becomes desperately bored by her husband and enthralled by his
brother and feels particularly distant and removed from her son. Gertrude
endlessly works on a tapestry of Hamlet, a monument to her dissatisfaction and
the rote nature of her life. She finds true passion, a true awakening, in her
relationship with her husband’s brother. Though they both try to deny
themselves the relationship, they seem to only find joy in one another—first in
writing letters, then engaging in flirtatious moments when Claudius visits
Elsinore.
The production itself is a technical marvel: the scenic
design, lighting, music, choreography, costuming, and puppetry are stunning. Julianne
Boyd’s direction is clean and precise and allows the splendid acting of Kate
Maccluggage (Gertrude) and Elijah Alexander (Claudius) to shine. As the title
couple, the audience cannot help but fall in love with their evident passion,
despite knowing how the story will end. Douglas Rees as King Amleth is
tremendous as a man who is inherently good but recognizes and is devastated by
the fact that his brother’s passion and zeal make for a better match to his
wife. Nick Lamedica as both Hamlet and Yorick has little stage time (though it
is nice to see Yorick alive and well, as opposed to his role as a skull in
Shakespeare’s “Hamlet”), but his presence is constantly felt throughout the
show. Rocco Sisto and Mary Stout as Polonius and Herda, respectively, provide
both comic relief and tender moments of understanding. Greg Thornton as King
Rorick, Gertrude’s father, does a lovely job in setting up the general sense of
foreboding and impending inevitable death.
To miss this show would be a tragedy on par with the one
that we see unfold onstage.
