The world’s most famous play – some might say greatest play – receives a superlative production at 4th Wall. Hamlet is no lightweight, filled to the brim with revenge, ambition, family dysfunction, madness, sexual jealousy, and just about every other human emotion you can think of. It covers all the bases and is swathed with Shakespeare’s sharpest writing and psychological insights. It is the whole package. The stage as the world.
With detailed and nuanced direction from Kim Tobin-Lehl, this production is adapted from New York’s Bedlam theater. You might remember 4th Wall’s Bedlam-inspired and gloriously theatrical Saint Joan (2016) with its small cast playing all the roles in Shaw’s classic. This is Bedlam’s bread and butter. Bring the action close to the audience, play it swift and neat, and do minimal damage. It’s a credo followed to the letter here. And Shakespeare and his Hamlet could not be in better hands. What a glorious night in the theater.
It begins with flashlights in the dark as the castle guards are spooked by what appears to be Hamlet’s dead father walking the battlements. The beams play across faces from above and below, putting us in a decidedly creepy mood. It also sends us shivers of delight for the creators’ imagination and theatricality. This is going to be fun. Hamlet as joy ride.
There are a few moments where the switching of hats to denote a different character brings comic relief, but more often than not the four actors play this tragedy with the seriousness it deserves. They could not be bettered. Young Wesley Whitson, as Hamlet – the only actor who never changes into another character – is in a word, superb. With his tussled hair and slim physique, he is Hamlet’s age and possesses the athletic spring of Olivier’s classic portrayal.
It’s bravura acting, brilliant and true, whether faking madness or seeming to go mad because of his disguise. His many soliloquies are solid and right-on, always shaded and never showy. I’ve never seen him give a bad or mediocre performance ever, but as Hamlet he has surpassed himself. This is one of the great performances of the season.
The other three actors certainly rise to his level. Philip Lehl, as fuddy Polonius is a sheer treat to observe as he winds himself in knots in pretentious prattle, or as friend Horatio, or vengeful Laertes. Christy Watkins, as noble Gertrude or frail Ophelia brings immense power to these women as they fail to live up to Hamlet’s stunted picture of them; and Philip Hays, as deceitful Claudius or playful Gravedigger is always masterful in the details.
Throughout, these three play all of the diverse cast from courtiers to sea captain to traveling players, sometimes switching between sentences to enact the other character they’re playing against. With their hand, they toot out trumpet fanfares for royal entrances.
This is a very complete version of Hamlet at 2-3/4 hours, but it’s brisk and fleet of foot. At first, chairs are set up for the audience on the stage floor, then they’re staged in a line of four for Act II, then part of the audience is placed at the back of the stage for the duel scene in Act III. This constant shifting of position seems to parallel Hamlet’s state of mind, but the interaction between cast and audience is real and does indeed bring one up-close and personal to this universal drama of action and inaction, faith versus damnation, and the consequences of one’s choices.
The setting is inconsequential – the back wall of the theater and a flight of steps to a platform. A sheet is drawn for the famous “arras scene” in Gertrude’s bedroom where Hamlet kills Polonius, and that’s about it for scenery. Bare bones is another tenet of Bedlam’s credo. Robert Leslie Meek’s soundscape is fairly minimal, too – a low hum for the ghost’s appearance and an overlay of the three actors’ voicing the specter’s eerie pronouncements. Simple and most effective. As are Christina Giannelli’s subtle lighting effects.
When the acting caliber of a production is this high, there’s not much need for sets or fancy costumes. They might be in everyday mufti from Krystal Uchem, but what music they make! Shakespeare rings out with passion and precision. You have to listen carefully, for the pace is fast but not furious. It’s all clear and clean. Whitson’s Hamlet sets the bar high, but the entire evening is one of perfection and delight. The world’s greatest playwright is honored by all of them. God speed, 4th Wall.
Bedlam’s Hamlet continues through May 24 at 7:30 p.m. Thursdays through Saturdays; and 3 p.m. Sundays at 4th Wall Theatre Company, 1824 Spring Street. For more information call 832-767-4991 or visit 4thwalltheatreco.org. $22-$62.
This article appears in Jan 1 – Dec 31, 2025.
