
The tiny Gift Theatre, occupancy 50, has bitten off a big challenge with its determination to present Hamlet. Featuring Daniel Kyri in the title role of Shakespeare’s classic, director Monty Cole has hewed to the melodious Elizabethan English of the script.
The production has contemporary touches that largely respect the genius of the playwright, while delivering a show that the author would recognize, and which conveys the crucial dramatic conflicts. And, a mark of a serious production, Cole and cast examine anew the mysteries that will ever surround the motives and actions of the characters.
In a nutshell, young prince Hamlet suspects his mother Gertrude and uncle Claudius are complicit in the recent death of his father, King Hamlet. The two have married, and for the rest of the play Hamlet works through his feelings of anger and guilt, goaded by ghostly appearances of his father. Hamlet’s girlfriend Ophelia, her brother Laertes and their dad Polonius are killed in the fallout. Likewise for Claudius and Gertrude.
Producing any play requires envisioning and mastering the drama, psyching out characters and motivation, getting the script down. With Shakespeare, you also must account for the specific challenge of a language in iambic pentameter, and at times florid or obscure.
So Shakespearean acting is its own special skill. The cast has largely nailed the motivation and inculcated it to their roles on stage, delivering moving performances with conviction. But, alas, the language suffers a few slings and arrows along the way – though there are bright spots – including a rap version of one monolog that was very successful.
From the moment she appears, silently regal, completely in touch with the Gertrude, Shanesia Davis shows how it’s done. Her every line is immediately clear, even when we are uncertain of an archaic word or phrase – we totally understand her. Davis acting background makes it clear why – she has a lot of experience with Shakespearean roles.
Daniel Kyri has captured young Hamlet, and we ride with him through his internal turmoil. But Kyri is still working through what is one of theatre’s most demanding roles. Of those seven famous Hamlet soliloquies, I felt he did best with the fifth (“Tis now the very witching time of night, When churchyards yawn, and hell itself breathes out”) and the sixth (“Now might I do it pat now he is praying, And now I'll do it, and so he goes to heaven.”)
Netta Walker’s performance as Ophelia was balanced and well done. Martel Manning as actor Guildenstern and the very funny Grave Digger, had a magnetic presence on stage. Gregory Fenner as Laertes has all the passion and constrined fury required. Alexander Lane carries a military strength and sinister swagger in his three roles as Fortinbras, Valteman and Marcellus.
Not everything works, though most things do. Cole, who spent a year in the development of the show, keeps the play in its historic setting, but the production is unconstrained by period dress. Several younger characters have smart phones, and somehow, these make sense. They are used as flashlights in some scenes, and Ophelia sings along with her earbuds in. Smart phones are now a normal human appendage, like eyeglasses, and are almost invisible in their roles in the show.
The set was nice – a classic paneled plaster hallway illuminated by sconces with decaying carpeting on the floor, the edges lined by weeds and smashed beer cans. William Boles did scenic design, but I do quibble with whoever made the decision to encase the stage in a box of acrylic sheets, so the actors play behind a “glass.” This muted the sound and an effort to mic the space was unsuccessful.
I went into Adirondack Chair Circle wondering what a new play about book bans could add to a conversation whose…
West Suburban Foundation for Disabled Veterans (WSFDV) presents "An Evening with Gary Sinise," Author of "Graceful Warrior" at the McAninch Arts…
David Salsbery Fry sings the role of Rev. Canon Chasuble in the Chicago Premiere of Chicago Opera Theater’s (COT) production…
From an internationally renowned chef and the world-famous rock frontman of Wilco, to a Pulitzer Prize-nominated author and a handful…
Oil Lamp Theater’s Oil Lamp Academy, 1009 Waukegan Rd., announces 2027 winter and spring classes are on sale now. Offerings…
Writers Theatre scores a knockout production with Marco Ramirez’s 2013 play, The Royale. Under the direction of Tyrone Phillips, we…
There are no shortage of stories to be told in Chicago. Whether you’re visiting a museum, riding the L, or…
The Joffrey Ballet announces the return of two-time Tony Award®-winning choreographer Christopher Wheeldon's The Nutcracker this holiday season. For the…
Metropolis Performing Arts Centre, located in the heart of downtown Arlington Heights, 111 W. Campbell St., is proud to announce…
Metropolis Performing Arts Centre, located in the heart of downtown Arlington Heights, 111 W. Campbell St., is proud to announce…
The Auditorium (Chicago’s landmark stage at 50 E. Ida B. Wells Drive) proudly presents comedian Nate Jackson as part of…
It wouldn’t be Chicago history without a few mysteries nestled amongst the ivy and six cornered paths. For every historical…
GEA Live, in collaboration with Disney Concerts and Baz Luhrmann , along with Broadway In Chicago, are excited to announce…
The Ruth Page Center for the Arts is proud to present its annual live production of "Ruth Page's The Nutcracker"…
Since premiering at Court Theatre in 2018, Manual Cinema's Frankenstein has stood as one of Chicago's most remarkable theatrical achievements.…
On Monday, October 26, 2026, the Harris Theater for Music and Dance became a gathering place for Chicago’s artistic community…
3Arts, the Chicago-based nonprofit grantmaking organization, awarded $860,000 to Chicago artists and announced the recipients of its 3Arts Next Level…
Hell in a Handbag Productions is pleased to launch its 25th Anniversary Season with the world premiere of It's a…
The nonprofit Guarneri Hall, a state-of-the-art, custom-built classical music venue in the heart of downtown Chicago at 11 E. Adams…
The Front Theatre announces casting for the North American premiere of Rafaella Marcus's highly acclaimed play Sap, directed by Charles Riffenburg. Sap is…
Chicago Magic Lounge welcomes back magician and high school science teacher Mister Danny as its first Artist in Residence of…
The Artistic Home's 2026-27 season will include works by new writers, along with less performed works by two of the…
Hyde Park School of Dance, now in its 33rd year of training, performance, and community, welcomes families and dance enthusiasts…
Need something better than old reruns of Hallmark Movies this holiday season? Want to see some real nut-crackers? Then dash…
Black Girls Dance®, which centers Black and Brown girls in joyful community, presents its sixth annual production of Mary, A…
There are funerals where grief brings a family together, and then there are funerals where grief opens the door to…
Chicago Shakespeare Theater’s production of The Winter’s Tale delivers a compelling evening of theater, showcasing an exceptional company of actors…
Steppenwolf Theatre Company and Mark Cortale are pleased to announce the return of Tony Award-winning Broadway star Jessie Mueller (Beautiful:…
Remy Bumppo opens its 30th anniversary season with Mud Row, a play by Tony Award nominee and MacArthur “Genius” Grant…
The world premiere of The Hanukkah Humbug brings ghosts, history, tradition, and a whole lot of family fun to the…
Steppenwolf's Adirondack Chair Circle: The Joke Lands. Then What?
Nov. 23 at the MAC: "An Evening with Gary Sinise" Author of "Graceful Warrior" to Benefit WSFDV
Remarkable Production Makes 'The Royale" a Knockout Show
David Salsbery Fry returns to Chicago Opera Theater for fourth production with company in Chicago Premiere The Importance of Being Earnest - December 2-6
Does your theatre company want to connect with Buzz Center Stage or would you like to reach out and say "hello"? Message us through facebook or shoot us an email at This email address is being protected from spambots. You need JavaScript enabled to view it..
*This disclaimer informs readers that the views, thoughts, and opinions expressed in the text belong solely to the author, and not necessarily to Buzz Center Stage. Buzz Center Stage is a non-profit, volunteer-based platform that enables, and encourages, staff members to post their own honest thoughts on a particular production.