class="">HAMLET by William Shakespeare

HAMLET by William Shakespeare

21 and 22 October| 19:00 – Metropolis Theatre, Centenary Hall

Hamlet is a “Kammerspiel”, a family drama. The performance analyzes in depth what it is not allowed to explore in the linear. The characters breathe, sweat, hope and suffer painfully close to the audience.

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Cast:

Hamlet, Prince of Denmark, Claudius’ nephew: Andrei Huțuleac
Claudius, King of Denmark: George Costin
Statue of former King, Hamlet’s father:: Alexandru Pavel
Queen Gertrude, Hamlet’s mother and Claudius’ wife: Andreea Grămoșteanu / Mirela Zeța
Polonius, chief counsellor : Alin Florea
Laertes, the son of Polonius : Codrin Boldea
Ophelia, the daughter of Polonius : Nicoleta Hâncu
Horatio, good friend and confider of Hamlet : Andrei Redinciuc
Rosencrantz, former schoolmate of Hamlet: Carol Ionescu
Guildenstern, former schoolmate of Hamlet : Voicu Aaniței
Director of the Tragedians of the City : Sorin Miron
Corina, director’s wife: Corina Moise
Actors of the theatre company: Ciprian Chiricheș, Vlad Lință, Cristina Danu, Ștefan Iancu, Anton Miron Presan, Alexandru Grădinaru
Gravedigger: Adrian Nicolae
Gravedigger’s helper: Nicolae Parpală
Marcellus: Sorin Fluture
Bernardo: Tudor Andronic
Francisco: Paul Radu
Osric: Florin Aioane

Soloists: Monica Odagiu, Andrei Stănculescu
Instrumentalists: Andreea Csibi, Cezara Comsa, Raul Stănulescu, Gugu Bogdan, Ghiță-Urziceanu Constantin, Mihai Dima, Ciprian Partenie, Marius Hoghi, Alexandru Sturzu

Translation by: Nina Cassian

Dramaturgy: Adrian Nicolae

Stage Direction: Victor Ioan Frunză
Set and Costume Design : Adriana Grand
Fight scenes directed by: George Costin
Concept and video editing: Andrei Huțuleac
Casting: Alexandru Pavel, George Costin
Original Score : Tibor Cari
Light Design: Victor Ioan Frunză

Length: 2 h 45 min (with intermission)

“Metropolis” Youth Theatre, Bucharest

Suitable for ages 14 and above

In this adaptation of Hamlet, the audience does not “watch life unfold through the keyhole”. The audience is at the heart of the events, it is the characters’ closest witness, their confidant and finally the judge of their crimes. Far from the bookish character of other adaptations, the script is “fiery”. As if they were running out of time, the characters intensely experience the tragedy of the memory. Perfectly matching the live music, the performance exudes a “larger than life” attitude, managing to recreate the tragedy through the use of small gestures, daily facts of life and by opposing artificiality. A tragedy of memory both introspection and action have the acuteness of witnessing a family drama up close and personally. No tricks and gimmicks, but cruel and unadorned life, in all its urgency. For time is out of joints.

Hamlet goes beyond touching the audiences. It shakes them in emotion. It awakens them.