Classic Theatre of Maryland’s production of Hamlet is a thrilling adaptation of Shakespeare’s play about the Prince of Denmark attempting to avenge his father’s death. Directed by Sally Boyett, it kicks off the new season with a bang.
Keenan Pasqua brings an anger to Hamlet, sneering at Claudius (Dexter Hamlett) and Gertrude (Audrey Loomis) for marrying so seemingly quickly after his father’s death. At the play’s start, he stands apart from everyone else at the court. Under the guise of insanity, he insults nearly everyone with clever wordplay. His famous “Get thee to a nunnery” scene with Ophelia (Elizabeth Cuite) is intense, as he repeatedly throws her love letters down. He forcibly sits Gertrude down while shouting his horrid accusations. The only time he seems happy is when speaking with the Player King (Brian Davis). His soliloquies are filled with anguish.
Elizabeth Cuite plays Ophelia with youthful innocence. Commanded by her father, Polonius (John Pruessner), to discuss her relationship with Hamlet, she tries to take the love letters from Polonius, reading them to Claudius and Gertrude. She sits weeping after her final conversation with Hamlet. Her mad scenes are heartbreaking: singing eerily, pacing across the stage, about to burst with manic energy.
Dexter Hamlett brings an authority to Claudius, Hamlet’s uncle now married to Hamlet’s mother and newly king. He gives orders and makes plans to figure out Hamlet’s seemingly erratic behavior. His most powerful moment comes in his soliloquy, filled with remorse for what he’s done. He ends on his knees, trying to pray. The audience feels sympathy for him, but afterward he is cunning, manipulating Laertes’ (Frankie Otis) grief into a plan to eliminate Hamlet. He speaks harshly to Gertrude, pulling her along. As the ghost of Hamlet’s father, he radiates supernatural command, demanding that Hamlet and his comrades “Swear.”
Audrey Loomis plays Gertrude, Hamlet’s mother, with a generosity. She flatters Rosencrantz (Tommy Dougherty) and Guildenstern (Frankie Otis), and tries to soothe Hamlet. When Hamlet confronts her with his accusations, she quickly moves from anger to fear to despair, weeping at what he has told her.
John Pruessner brings a quiet cunning to Polonius, Claudius’ advisor and father to Ophelia and Laertes. He directs Ophelia in trying to understand Hamlet’s seeming madness, not caring about her despair after their conversation. He is full of aphorisms and sometimes comically wordy. As the Gravedigger, he has perfect comic timing, doing great wordplay with Hamlet and using gestures to illustrate his comedic philosophical points.
Tommy Dougherty brings a loyalty to Horatio, Hamlet’s friend. He quickly explains the appearance of the ghost to Hamlet, and holds him back when Hamlet fights with Laertes. As Rosencrantz, he is softly friendly to Hamlet while reporting to Claudius. He grows increasingly perplexed by Hamlet’s hostility.
Frankie Otis plays Laertes with a violent rage, pointing a sword at Claudius and attacking Hamlet at Ophelia’s grave. He is tender toward Ophelia, offering advice about her relationship with Hamlet. Seeing her insane, he tries to comfort her, though she pulls away. As Guildenstern, he is mildly friendly with Hamlet, though trying not to explain that he and Rosencrantz are there at Claudius’ orders.
Brian Davis plays Osric, Claudius’ assistant, as quietly useful, informing Claudius and Gertrude about Ophelia’s madness and encouraging Hamlet to duel with Laertes. As the Player King in the “play within a play,” he is highly dramatic, using gestures and movement to tell the story. Kevin Volland is equally dramatic as the Player Queen, weeping at the Player King’s poisoning before embracing his killer (Frankie Otis).
Lighting designer Samantha Terrell enhances the play’s atmosphere by bathing the stage in green light at the ghost’s appearance and showing red during dramatic moments. Sound designer Folger Ridout throws out trumpet fanfare and echoes of the ghost’s speech, adding to projection designer Sally Boyett’s spectral-looking image of the ghost on the screen in back of the stage.
Sally Boyett makes each character immediately distinguishable with her costumes. Hamlet wears a black vest and cap, while Laertes is in a golden jacket and cap. Ophelia begins in a green dress, then switches to a red-and-white outfit that’s slightly more disheveled. Boyett gives the actors great choreography; Hamlet and Laertes’ swordfight, coached by Olympic gold épée fencer Kaz Campe, is especially gripping. The actors make Shakespeare’s language feel natural, and even those familiar with the play will find the ending suspenseful. Filled with madness, murder, and mayhem, Hamlet will appeal to both newcomers and enthusiasts.
Running Time: Two hours and 30 minutes, including one 15-minute intermission.
Hamlet plays through October 18, 2026, at Classic Theatre of Maryland – 1804 West Street, Annapolis, MD. For tickets ($61–$95), call the box office at 410-415-3513, email BoxOffice@classictheatremaryland.org, or purchase online.
The program is online here.
