Fearlessness, thy name is woman. We’ve seen it in Juliet’s defiance, Lady Macbeth’s ambition, and even Viola’s convictions. And what of the “feeble” Ophelia? Well, she is more than fearless, perhaps more than any of Shakespeare’s women, because she holds something that very few still have, and that very few still hold sacred: her virginity. Not the narrow, cherry-popping concept of virginity as we understand it today, linked to sex or purity – but rather, Ophelia is reclaiming the original meaning of the word, an embodied sense of virtuousness defined, above all, by being true to thine self.
Playwright Jean Betts flips the script on one of Shakespeare’s famous tragedies in the fantastically profound and introspective Ophelia Thinks Harder. The script stays (mostly) true to the original plot of Hamlet – however, this story begins just before Queen Gertrude’s remarriage to Prince Hamlet’s uncle, King Claudius. The audience is introduced to a young Ophelia as she manages the weight of her strained relationship with Hamlet, her father’s expectations, the death of her mother, and her coming into adulthood – all while the Danish kingdom is on the brink of collapse. Interweaving humour and heartache with contemporary dialogue and an array of beautifully selected lines and speeches from across Shakespeare’s canonical works, Betts has created an incredibly witty and thought provoking play.
Heavy lies the head that takes up this masterfully complex script, but director Alex Kendall Robson and co-producer Jade Fuda’s metatheatrical staging effortlessly rises to the occasion. Although terms like “reframing” and “reinterpretation” may make the purist shudder, this production stays true to the universal characteristics of Shakespeare’s original play whilst de-centring notions of mother, daughter, and wife by creatively exploiting the ambiguity of its intertext.
This production craftily satiates both the traditionalist scholar and the Bard-phobic, proving that theatre is not just something to be read, but something to be experienced
The casting is exquisite. The breadth of each actors’ experience, especially in Elizabethan works, is reaped in every interaction and movement. Brea Macey steps into the role of Ophelia (replacing Fuda, due to illness) – skilfully balancing the androgynous innocence of childhood with the realities of puberty and adult responsibilities. With fantastic comedic timing, she exerts a physically demanding performance with athletic stamina. Macey’s emotional range is also impressive – despite moments where it becomes overwrought with gusto, which can undermine the tension of more compelling moments.
Lucy Miller’s performance as Queen Gertrude is strong, every movement crafted with intention. Her expressive reactions answer the uncertainties that characterise the Queen in the original script, and her vibrant presence reinforces that Betts’ intent to recenter women extends beyond just young women. Equally vibrant and just as ferociously dangerous is Shaw Cameron as Hamlet. Cameron’s sharp, improvised audience interactions at the start of the show foreshadow the vigour of his entire performance. Blurring the line between genuine homoeroticism and the irony of fanatic masculinity, Cameron’s masochistic interpretation reveals the depths of power and rage twisted within this iconic Shakespearean character.
A special mention must be made of Eleni Cassimatis as Ophelia's maid. A frequent presence on the stage, she masterfully balances the paradox of concealing her presence while depicting themes of oppression, fear, and class struggle against the background of the central plot.
Hannah Yardley and Jimi Rawlings transform the intimate confines KXT on Broadway’s traverse stage with a well-crafted set design that instantly enhances the production’s metatheatrical devices. One half of the stage is a garden, overgrown mossy greenery spreads from floor to wall. On the other half, the insides of a church are assembled, with a pew, candles, and a picture of the Christianised Virgin Mary. Sophie Parker’s lighting occasionally grows too harsh, distracting from the emotional crux of a scene. However, this is counteracted by some sharp stylistic choices – warm tones depict reality, and cool, saturated tones showcase the supernatural.
Robson takes the costuming in a modern direction that’s rich in symbolism, capable of carrying much of the story on its own – from Ophelia’s evolving colour scheme, to the symmetry between her outfits and Queen Gertrude’s garments, and even the bold looks worn by Rosencrantz and Guildenstern.
As Prince Hamlet himself puts it, "What a piece of work is a man". Ophelia Thinks Harder responds to this proposition with a raw yet hilarious takedown of patrirchy that will leave you feeling inquisitive and inspired. This production craftily satiates both the traditionalist scholar and the Bard-phobic, proving that theatre is not just something to be read, but something to be experienced.
Ophelia Thinks Harder is presented by Fingerless Theatre in association with bAKEHOUSE Theatre Co at KXT on Broadway, March 14–29. Tickets are on sale for $30–$50 over here.
Stay in the loop: sign up for our free Time Out Sydney newsletter for more news, food & drink inspo and activity ideas, straight to your inbox.