Bernhardt/Hamlet | Goodman Theatre
3.5 out of 4
(Originally published on Chicago Stage Standard)
Bernhardt/Hamlet explores feminism, staunch beliefs and legacy at the Goodman Theatre this Fall. Gossip flies and society gasps as gender roles are put to the test when actress Sarah Bernhardt assumes a role that is often considered the zenith of men’s acting careers: Shakespeare’s Hamlet.
For context Pulitzer Prize finalist Theresa Rebeck’s play, which premiered in 2018 on Broadway at Roundabout Theatre Company, is based on the legendary leading lady’s historical debut in this role in 1899. Born in Paris in 1844, Bernhardt quickly rose to fame in her early 20s as a successful actor who was also known for her lavish lifestyle. She eventually opened her own theater, Theatre Sarah Bernhardt, where she first played the title role in Hamlet. Her portrayal was ultimately successful, but was bristled with criticism and controversy. She continued acting until shortly before her death in 1923.
The production is wonderfully written, melodic and dramatic. Rebeck’s work is daring and provocative, while providing an immensely dense amount of critical thought in regards to objectivity and “the male gaze”. With the turn of the century and the evolution of photography, the exciting time of art is being pushed into a sphere like never before. The bones of this production merit the fiery passion and challenge not only gender roles in society, but more articulately in the theater. “All theater is an act of ego,” says Bernhardt played by the talented Terri McMahon.
This deep analytical dive into Shakespeare’s Hamlet is melded up with personal drama. As the audience watches Sarah Bernhardt explore Shakespeare’s work, the audience must have a solid understanding of Hamlet itself to get the full picture Rebeck’s work. The hypocritical idea for men to play all roles on stage, while females were not allowed on stage in the 18th century is fine, but when challenged in the new 20th century it seems outrageous. Bernhardt critically looks at Hamlet as something non-physical. A character that is almost unattainable – Shakespeare’s closest work that speaks “soul to soul”. “In many ways, Sarah Bernhardt was ahead of her time—certainly as a woman and an actor,” said Director Donna Feore, who is known for her work as a director and choreographer at Ontario’s Stratford Festival. “Bernhardt/Hamlet poses tough questions, but at the same time is funny, witty and sexy...”
This is Feore’s Goodman debut directing the cast of 14, including Larry Yando and Gregory Linington. Yando plays Constant Conquelin, a portrayal that showcases his excellent talent at conveying natural comedic personas. The organic overacting is amusing and not overbearing. Yando toes the line between dramatic and humorous so beautifully well and is always a joy to watch. Linington as Alphonse Mucha, the poster artist for Bernhardt’s production, adds depth to the cast as his character struggles to effectively capture Bernhardt’s Hamlet. The artist admits how difficult it is to draw this commission and how easy it is to draw women and make them each “flowers”. Hyper feminizing the curves and lines of a woman compared to drawing a woman dressed as a man with satisfying both sides. The constant struggle with understanding Hamlet transcends to these characters trying to understand Bernhardt. This larger than life woman who is bent on creating the art she wants and without bounds. Dana Osbourne’s costumes continue this theme. The turn of the century suits and dresses contrast against Bernhardt’s relaxed ensembles. When not in her pants and Hamlet costume ready for battle, Bernhardt’s character is clad in undergarments and robes with the exception of a dinner party where she strips to her pajamas soon after. Dressing up is a constant and when she is not in a get up – she is in a relaxed outfit and nonstop thinking of the part.
One is either plays Hamlet or a flower as Bernhardt puts it. Is Hamlet unattainable? Shakespeare’s intent and ultimate role is dissected and pieced together again through the lens of a strong independent female actress of the late 19th and early 20th centuries. A strong feminist play with a niche to theater and Shakespeare lovers that tackles big questions of inequality, hypocrisy and breaking the glass ceiling.
Bernhardt/Hamlet will play through October 20th, 2019 at the Goodman Theatre. For more information and tickets, please visit GoodmanTheatre.org/Bernhardt, by phone at 312.443.3800 or at the box office (170 North Dearborn).
