Weathervane Playhouse

June 21 - 30, 2018

Directed by:  Kevin Connell

Scenic Designer:  Matthew Hamel

Costume Designer:  Ivy Swinski

Lighting Designer:  Dylan Bollinger

 

 

I Hate Hamlet tells us the story of a young actor whose claim to fame is appearing on a medical drama and appearing in a silly commercial.  He decides that he wishes to connect himself back to theatrical acting, and is cast to play Hamlet in Shakespeare in Central Park.  His realtor has rented him an apartment that was once home to John Barrymore.  A séance ends up bringing back the ghost of Barrymore who seeks to draw Hamlet out of this young actor, even challenging him to a swordfight.  As the actor is now engrossed in the role, an opportunity to make lots of money on a new television series is made available, and he has to decide what is more important to him.

 

This show is full of several powerful moments, from the appearance of Barrymore to the crazy swordfight at the end of act 1, to the romantic moment experienced when Barrymore encounters a woman of his past.  Each moment allowed me to create interesting soundscapes and ambiences that would enhance these moments.  Barrymore’s entrance featured thunder from all different locations, mysterious whipping wind, and ghostly wails.  The romantic moment between Barrymore and a long lost love inspired plaintive piano music that celebrated and lamented what could be.

 

My favorite moment was the swordfight at the end of act 1.  Originally stylizing the music after a swashbuckling movie, I composed some sequences of drums.  At first the drums just created a feeling of anticipation, using tenor drum and tympani to beat out a building pulse.  When the fight started proper, the drums hit a frenzy, beating out an insistent energy into the scene before finishing on a sharp hit and gong.

 

We also created an interesting curtain call moment.  At first, Barrymore shows the young actor how to properly bow to his audience, amid the soft distant sounds of a cheering crowd.  When Barrymore disappears and the actor is alone, the call to bow becomes more real, with the cheering crowd growing in strength and the sounds of a brass fanfare.  After taking this ‘mock’ bow, it would evolve into the curtain call proper for the entire cast.