A pedal-to-the-metal, German-language “Hamlet” has come to New York at last, after a 14-year wait: the Schaubühne Berlin production was first shown in Athens in 2008.
Thomas Ostermeier’s pedal-to-the-metal, German-language “Hamlet” has come to New York at last. It has been a fourteen-year wait: the Schaubühne Berlin production was first shown at the Hellenic Festival in Athens in 2008, and it seems to have travelled everywhere in the worldhere.
Well, he has to get dirty to do it. Jan Pappelbaum’s set consists of an acre of mud , a rolling platform with a banquet table covered in beer cans and takeout containers, and a curtain made of silver chain, used as a projection surface. This “Hamlet” starts with an out-of-sequence bang: a partial rendition of the “to be or not to be” speech, delivered two acts early by a glum Hamlet into a handheld camera.
If you are flipping through your edition of “Hamlet,” forget it. This scene isn’t in there, and, in Marius von Mayenburg’s German translation, many of the play’s most-underlined passages have been cut. “Hamlet” is such a hodgepodge, I often don’t miss lines when they’re gone—it’s rare to do the whole text—but Ostermeier chops out a ton, including marquee speeches like Polonius’s “To thine own self be true,” and a famous chat that Hamlet has with a skull.
Hamlet is unleashed, unhinged, and ungovernable. Is Eidinger? Shakespeare’s play is about the difference between being and seeming, and there are times I lost track in this production of what was genuinely off-script. Even after fourteen years, the performance feels like touching a live wire. Certainly, the other actors didn’t look as though they knew exactly what Eidinger was going to do, which is scary when he has a sword or a shovel in his hand. The supertitles can’t keep up with him, either.
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