When you hear Shakespeare and circus, it would be safe to assume that a show couldn’t do both things justice. It’s two different art forms. How do you present the drama of a Shakespearean tragedy when you’re focusing on safely flipping in the air over your fellow performers?
The New York Circus Project shows its audience how it can be done. This is by far one of the most impressive Shakespeare adaptations I’ve seen in some time, from artists who love and respect their source material. These are designers and creatives who have weaved the emotion and message to this production’s music, staging, all while engaging in high-flying acrobatics, mind-boggling contortionism, and exhilarating aerial work.
Imagine, if you will, the first scene, where the guards witness the ghost of Hamlet’s father (Ron Oppenheimer). Now imagine how the supernatural element looks while the guards chase after the ghost with a high-flying banquine performance, set to a haunting tune from Nina Simone. (Music selection was unmatched, in both tone and the larger metaphor for each piece.)
Or more adequately, imagine Ophelia (played by the extraordinarily talented Ilse Baryshnikov) in her descent into depression, against the backdrop of a Hair Hanging aerial performance. It provides a view of her despair that is hard to represent in other productions of Shakespearean work. This team’s love of the art goes beyond the script, as well. They perform Ophelia’s drowning (not actually in the original work, but represented in paintings) as a Contortion act over a shallow pool.
The production explores the fun tidbits Shakespeare included as well. I don’t think I’ve had this much fun with Rosencrantz and Guildenstern, both clowning and performing Hand to Hand stunting (Asom Hayman-Jones and Glenn Doyle).
From Hamlet (Maddox Morfit-Tighe) to Gertrude (Hilary Dennis), each performer brings a love for and accurate portrayal for their characters. Show creators Sam Landa and Emma Owens demonstrate an excellent ability to bind artistic influences to the work, even beyond the circus. When Hamlet hires the Players as part of the performance, the accusatory murder-play is performed to a Bob Fosse–inspired dance number.
New York Circus Project launched this as their first tour as a company through Philadelphia, DC, and Chicago, adjusting to variable sets and stage heights — how high the space is significant when you’re high-flying in your acrobatics or dropping from silks. The artists adjust their performance but still stay true to its source.
Moreso, the Dock 5 space at Union Market is almost like an open hangar, a space usually held for events and parties. This is Union Market’s first theatrical event. And hopefully this production inspires more theater/performances from this space, if only because it’s so easy to get to via Metro or car.
This is all to say, you don’t want to miss this show. And the tickets to this theatrical tour are going to go fast after this weekend. Audiences were quickly texting and recommending this show. This phenomenal run showcases the timeliness and the flexibility of the Bard’s work when placed, in this case, in chalked-up hands.
Running Time: One hour and 40 minutes including one 10-minute intermission.
Hamlet plays through August 11, 2024, presented by New York Circus Project at Union Market District’s Dock5, at 1309 5th Street Northeast Washington, DC. Tickets are $49 and can be purchased online.
The program is online here.
