See it if
A seamless mix of Shakespeare & fresh, inventive iambic pentameter clearly delivered, essentially creating a new play in the Canon appeals.
Don't see it if
You're such a Shakespearean purist that you'll pass on hearing the language sing so effortlessly & clearly from this fine cast. Just see it.
Through a close study of Hamlet & Shakespeare, a clever reshuffling and reassigning of monologues & speeches and the fearless addition of his own pentameters, James Parenti has essentially given us a new and unexpectedly modern play by the Bard. Its clever, inventive focus on Ophelia shines light on familiar material and breathes new life into it by providing alternate motivations.
The uniformly fine cast helps make it possible. Cristina Madero somehow speaks in iambic verse as if from birth, with a command & use that makes her Ophelia simultaneously classic & totally modern. Louis Sallan's Hamlet is freshly — and understandably — conflicted, and Gabrielle Adkins is a striking, unexpected Horatio with a firm presence.
Clear, conversational Shakespeare is a rare thing; go see this show.
(Note to the Production: suggest the sound of light rain at the end, increasing in volume after the bows to clarify and put a button on the final gesture. As is, intent is unclear & audience packs up prematurely.)