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| Staged on an all-black set using her own
handmade costumes and props, Kanako Hiyama's
Hamlet places the King in the audience's midst, recasting spectators as
members of the Court. An always-present Ghost introduces the story and observes
the action from among the audience. Hiyama's swift 90 minute adaptation
favors story over poetry: scenes are played out of order; speeches are interwoven
in surprising ways. Hiyama stages each scene from the perspective of a different
character; thus, Hamlet's story is seen from many angles. The almost Oedipal
relationship between Hamlet and Gertrude is emphasized throughout, and other
characters (including Ophelia) are excised. Hiyama's production moves quickly
between time and place, transforming the deep LaMama stage into a series
of elevations separated by curtains and populated by puppets (courtesy of
Tom Lee). Director Kanako Hiyama, originally from Chiba, Japan, earned her B.A. from Fort Lewis College in Colorado. Since 1999, she has worked in numerous downtown theaters as a director, stage manager, production coordinator, translator, costumer and performer. Recent directing credits include Hoichi the Earless, adapted from a Japanese ghost story and presented at LaMama in 2003, and Tokyo Rose at The Chocolate Factory in January 2004. Other recent credits include Skins (La MaMa), The Chekhov NOW Festival (Connelly Theater), AUDIT (The Chocolate Factory), and Citystories (LITE Company). She currently works as Administrator for The Chocolate Factory Theater in Long Island City, Queens. 
Hamlet features puppet design by Tom Lee (member of Ellen Stewart's Great Jones Repertory Company @ LaMama), scenic design by Ryo Onodera, and handmade costumes by Hiyama; with performances by Joseph C. Yeargain (Hamlet), Erin Treadway (Gertrude), Brendan Bradley (Laertes), Ivo Velon (Horatio), Tony Naumovski (Ghost), Roger Dale Stude (Claudius), David Gochfeld (Polonius), Morteza Tavakoli (Rosencranz), and Neimah Djourabchi (Guildenstern). |
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