HAMLET
at PA Leadership Charter School: Center for Performing & Fine Arts

Reviewed on March 18, 2022

Clara Steege
Conestoga High School
Submitted for publication to WordPress Site and Cappies Page

To be or not to be? Pennsylvania Leadership Charter School (PALCS) sought to answer this age-old question through an inventive reimagining of "Hamlet", turning out an undeniably successful result in the process.



Out of Shakespeare's many notable works, "Hamlet" may be the most well-known. Part of the reason for its success is the universality of its main character; Hamlet's self-doubt and inner turmoil are not only significant drivers of the plot, but also allow the audience to empathize with him intimately. As all the characters navigate the challenges of Danish royal life – including death, betrayal, and madness – they also explore the nature of the human condition.



PALCS added sophistication to the play as they interpreted how "Hamlet" would have played out in modern times, complete even with social media. Though certainly a lofty goal, they rose to the challenge with great skill.



Perhaps the show's greatest stand-out was its phenomenal acting. Nola Dowd led the cast as Hamlet, elevating every scene with her emotiveness. This ability was especially apparent when she interacted with other characters, highlighted by her snark with Polonius, harshness with Ophelia, and defiance with Claudius. These actors then played off her energy to further develop their own performances.



In the role of Hamlet's nefarious uncle, Trinitee Hoffman inhabited Claudius's condescending nature with confident body language, dismissive facial expressions, and thoughtful vocal intonation. Natalie Petro, as Ophelia, was also strong throughout, but especially shone when she got to convey her character's madness. She took her sung parts beyond a demonstration of her lovely voice by incorporating a captivating eeriness that enthralled the audience. William Bergbauer was remarkable as well, exhibiting both a depth of emotion and outstanding fencing skills as Laertes.



Further enhancing the production were various tech elements, the most prominent of which was an impressive video wall as part of the set. This was fully utilized to display social media posts, prerecorded security camera feed, and live video from onstage. Along with perfectly synchronized lighting cues, the video wall helped set the mood in every scene. Rounding out the set, screen doors were used with lighting to show eavesdropping silhouettes, and simple bench pieces were constantly reconfigured to create a wide range of settings. Also notable was the makeup, with sophisticated details like a ghost look that included prosthetics.



Especially considering that their show featured death so heavily, Pennsylvania Leadership Charter School imbued their performance of "Hamlet" with an impressive display of vitality. The creative interpretation of setting, evocative displays of emotion by the cast members, and excellent tech came together to produce a truly outstanding production.

Willa Hollinger
Abington Friends School
Submitted for publication to WordPress Site and Cappies Page

When performing Shakespeare for modern-day audiences, there is often a disconnect between the language of the play and its reception by viewers. Specifically, how can the complex world of Shakespeare be made relatable to high school students? In PA Leadership Charter School's recent production of Hamlet, the tragedy was directed with a distinct spin to attract younger viewers: Hamlet, the prince of Denmark, was a social media celebrity. Integrating familiar formats like TikTok videos, this modern take aimed to engage young viewers in Hamlet's story as he becomes increasingly determined to avenge his father and kill his uncle.

The set of the actual play was spare, minimalistic, and effective at creating different spaces without much effort. To add to the slightly futuristic feel, a wall of monitors were mounted on the back wall, which notably portrayed the ghostly apparitions of the late King Hamlet in an almost holographic way. The screens were also used to perform several of Hamlet's soliloquies, wherein videos of ensemble members popped up one by one on a monitor to recite a few lines each. Though creative, the decision to split up these soliloquies often took away from Hamlet's personal, confiding thoughts.

Indeed, some of the brightest moments in the show were when leading or supporting roles got to shine on their own. Hamlet (Nola Dowd) excelled at this daunting role, seldom shying away from her character's dark, comic, and complex spiral into madness. Hamlet's uncle Claudius (Trinitee Hoffman) played a consistently articulate and three-dimensional rival, providing a strong contrast to Hamlet. Another bright spot was Ophelia (Natalie Petro), who profoundly captured the grief caused by Hamlet's rash actions in an ethereal combination of singing, costuming and expressive makeup. Impressively, the final climactic fencing scene between Hamlet and Laertes (William Bergbauer) showcased student choreography by Bergbauer himself.

Though Shakespeare often requires big expressions to be fully conveyed, the full ensemble remained solidly engaged throughout the story, clearly eager to bring the tragedy to life. Aiding them in their acting during emotionally dark moments of the play, dramatic lighting and sound effects were often added to build the atmosphere. These cues were especially important for including the audience in the story, perhaps even more than the use of social media, because they encouraged the actors to break loose and emote more recklessly. In such a raw piece of tragedy as Hamlet, this willingness to be vulnerable on stage is ultimately one of the best ways for the actors to connect with their audience.

Anna Walmsley
Upper Merion Area High School
Submitted for publication to Cappies Page

Lights flood from shimmering chandeliers, the set of Hamlet begging to unveil itself- and, instead of revealing an antiquated castle, a high school takes shape! Pennsylvania Leadership Charter School reinvents Hamlet from a time-worn tale to one of militarized monarchical misdeeds.

Though this story has been retold over centuries, Hamlet originated as a work by the one and only William Shakespeare. This tragedy tells the tale of Hamlet, whose father's ghost appears before him to reveal his true killer. Filled with the raging spirit of vengeance, the maddened hero takes it upon himself to avenge his father, stopping at nothing to enact retribution.

Pennsylvania Leadership Charter School handled this retelling with finesse. The immersive feel of the blackbox theater combined with the absence of microphones made for an intimate, powerful experience. Each line delivery sank into the souls of each audience member, sucking viewers into the fray. Business suits and social media brought modernity to life.

Nola Dowd, playing the plagued prince of Denmark, captivated through her expression of raw emotion and her dominating stage presence. Ranging from crazed to enraged to bereaved, Dowd took on the demanding role with expertise. Her stoic, thoughtful visage mesmerized and astounded. Dowd's performance was not only captivating, but real.

The supporting cast brought enrapturing depths of their own. Chilling King Claudius and questionably-motived Queen Gertrude were played by Trinitee Hoffman and Zagara Sims respectively. Hoffman terrorized with authoritarian prowess, and Sims evoked pity for a confused, grieving wife. An unfortunate family of three- Polonius, Laertes, and Ophelia- summoned sympathy for their own terrible fates. Jason Ramoth as Polonius was charming and loyal to a fault. Laertes, William Bergbauer, displayed all the expected rage of a slighted brother and son. And Ophelia, played by delightful Natalie Petro, tore hearts apart with her songs and wails of grief.

Pennsylvania Leadership Charter School's stage crew assembled unforgettable technological spectacles. The stage was lined with a grid-like pattern from floor to ceiling, allowing twelve wall-mounted televisions to blend right in. Many effects were displayed upon these monitors, including smoke, splashes of blood, and apparitions from beyond the grave. Silhouettes shone through doorways and twin chandeliers sparkled overhead. Versatile benches transformed themselves from podiums to beds and everything in between. All of this was made possible through Isabella Rottman's impeccable stage management.

Pennsylvania Leadership Charter School captured the ethereal edge of Hamlet, made relatable for the modern day.

Arielle Oslon
Upper Merion Area High School
Submitted for publication to Cappies Page

No message from beyond is needed to know that Pennsylvania Leadership Charter School's Hamlet was a unique and masterful production.

Hamlet, existing first in Norse legend and put to text by William Shakespeare in the early 17th century is reimagined in a modern setting. The story follows Hamlet, a teenage social media star attempting to cope with the death of his father, and the espousal of his mother and uncle. Everything changes when he is visited by the ghost of his dead father, alerting him that it was Hamlet's uncle who killed him. As he embarks on his journey, madness finds him, and he is soon unable to get a grip on reality.

The production was clean and polished, but the show still felt fresh, as the plot progressed with a sense of urgency. Many of the ensemble actors were double cast, and did a wonderful job isolating each role through clear character motivations.

Nola Dowd, playing the role of Hamlet, took on a massive feat. On stage for nearly all of the show's lengthy run time, there was never a moment of perceptible fatigue, or any breaking of character. Dowd's energy was infectious, electrifying the stage during all of her scenes. Not only did Dowd capture Hamlet's witty humor, but his complex emotional baggage and his descent into madness.

Alongside Hamlet was an equally strong cast of supporting actors. Ophelia (Natalie Petro) perfectly portrayed all aspects of the character, through heartfelt scenes of love as well as crippling grief. King Claudius (Trinitee Hoffman) brought drama and tension to the stage as the plot unfolded. Hoffman conveyed both the evil antagonist side of the character as well as the likable, but deceiving persona. All of the supporting characters had intense chemistry, unifying the production.

Taking place in a small blackbox theater, the cast utilized simple multifunctional props to show varying locations. The stage and backdrop were entirely white, serving as a blank canvas for beautiful lighting. The back wall adorned with 12 televisions served as much of the scene, creating the transition from security footage, to the video of Hamlet's play, to social media platforms. One clever detail was the use of projections onto the stage doors, displaying silhouettes of characters eavesdropping on scenes.

Though the ending of Shakespeare's Hamlet is tragic, Pennsylvania Leadership Charter School's production of the tale was anything but.