by Tracey Paleo, Gia On The Move

Hamlet on the verge of a nervous breakdown…or Hurricane Hamlet.  Either way, it’s an experience from its circular front to back.

Aptly named, Roughly Hamlet, based on William Shakespeare’s Hamlet, and adapted and directed by Stephen Weston, is a more than just a slightly psychotic reimagining of the Prince of Denmark’s dark inner struggle. As if it wasn’t internally exerting enough, actor Micah Watterson must go deeper into the animus of an already troubled young man and give action to an inner colloquy which, in a normal rendition of this play is verbally projected on the surface as a more simply, menacing composure.

Further, Watterson must act out the entire tragedy on his own as an incomplete monologue borne purely through Hamlet’s interior emotional life.

It’s a whopper. Physically violent, frenetic, occasionally comedic and spastic. Except for Hamlet’s time honored ‘to be or not to be’. And that is where we connect. Because there is nothing like sitting still and just saying the words of the master, to really understand the human ego, mind, spirit and soul. It is always Hamlet’s moment and indeed the moment Watterson most potently honors with remarkable dedication, inside an otherwise full hour of exhaustive stage movement.