This week FringeArts will be hosting New York Circus Project’s production of Hamlet. This will be the fifth Shakespeare production I’ve seen this year, and we’re not even into August. Throw your preconceived notions of Shakespeare through a flaming hoop; this show is unlike any other Shakespeare production I’ve seen. This show doesn’t even come close to any other Shakespeare I’ve seen.
I’ve experienced Hamlet performed with minimal liberties taken, and I’ve seen Shakespeare productions that were Shakespeare in name only. The circus performance aimed to tell the story through a new lens. Who is Hamlet performed by a circus project for? The crossover between the two turned out to be more profound than I expected.
The show runs 90 minutes, showcasing both Hamlet and a circus performance, which requires strategic cuts and substantial additions to the core material. There are many things you can cut from Hamlet and still have it remain Hamlet, and then you add aerialists, acrobats, contortionists, hand balancers, and tumblers. Is this even possible? The New York Circus Project has responded with a resounding YES! In their new traveling show, in Philadelphia from July 24-29, they have combined these circus elements with Hamlet, leaving the story easy to follow.
The play as performed by the New York Circus Project is more performance than theatrical experience and encourages the audience to respond. It felt, at times, like a jukebox musical with the rapid and varied musical choices and stylings. The skills and abilities shown by the performers are sensational. Combined with Shakespearian theater, you find elements of well-known characters in this iconic play speaking to you in a new way.
Coming at the beginning of the story, I have never seen a performance of Hamlet’s father quite like this. They were able to express the ghostly, ephemeral nature clearly and powerfully, which helped to move the story. This adaptation of this scene sets a high mark.
The tumbling routines with the full cast were enjoyable and displayed the talent this company has. Their skills and abilities stood on their own, distinct from the Shakespearean elements, and put a circus-shaped stamp on this production. I have never seen the Prince of Denmark deliver lines while standing on the shoulders of another actor.
Rosencrantz and Guildenstern did not disappoint. In this production, maybe we should call them “base & flyer.” Here they focused on the light-hearted nature of these characters. As opposed to insincere flatterers, they were a welcome relief in this classic tragedy. They were a gem in the middle of this production.
Ophelia’s prominence grows later in the show at her father’s untimely demise. Again, the circus aspect takes center stage, allowing an expression of Ophelia’s madness in new and interesting ways. They utilize hair hanging to allow Ophelia to express her grief and her descent into madness. She passes out her flowers to the company while suspended. Her death scene is done the way only a contortionist could. The incorporation of moving the play along with choreographed balance and contortion makes this a singular experience.
I’ve never seen a cast of actors with stronger shoulders. They were able to hold up the weight of the canon with aplomb. It is a valiant desire to take on such a well-known work and tell it again. The New York Circus Project’s daring and imaginative approach breathes new life into a timeless tale, proving that even the most familiar stories can surprise and delight us anew. Whether you’re a Shakespeare aficionado or a circus enthusiast, this production offers something for everyone. Don’t miss the chance to see Hamlet like never before – a performance that will leave you pondering the infinite possibilities of storytelling and eagerly anticipating what the New York Circus Project will conquer next.
Find more info about New York Circus Project.
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