Review: WILLIAM SHAKESPEARE'S HAMLET at University Of Central Arkansas Theatre in Conway

For those who struggle to understand and even shy away from the genius that is William Shakespeare, fear not—The University of Central Arkansas Theatre troupe’s production of Hamlet is here to change your mind. With one more weekend of performances, November 14–16, this production invites audiences to step into the dark, tragic world of Elsinore Castle and experience the Bard’s most famous play as it was meant to be seen—alive, accessible, and achingly human. Under the masterful direction of Chris Fritzges, whose extensive work with Arkansas Shakespeare Theatre brings authenticity and depth to every scene, this Hamlet bridges the centuries between Elizabethan verse and modern audiences with breathtaking clarity. Every word feels purposeful, every emotion raw, and every moment intensely alive, proving that Shakespeare doesn’t have to be intimidating, it can be thrilling. 

 Hamlet tells the story of a Danish prince who is devastated by his father’s death and angered when his mother quickly remarries his uncle, Claudius. When the ghost of Hamlet’s father reveals that Claudius murdered him to seize the throne, Hamlet vows revenge but becomes consumed by doubt and grief. As he struggles to uncover the truth, Hamlet’s erratic behavior drives away those he loves, including the innocent Ophelia. His pursuit of justice spirals into betrayal, madness, and death, leaving nearly every character destroyed by the play’s end. 

Having worked with Arkansas Shakespeare Theatre, Fritzges brings an expert’s touch to this student production. His direction showcases not only a deep understanding of Shakespearean text but also an ability to translate its complexity into clear, compelling storytelling. It’s obvious these students have been trained by someone with professional Shakespearean experience—their diction, pacing, and emotional precision make this version by far one of the easiest and most engaging renditions of Hamlet to understand. 

Leading the cast with mesmerizing emotional depth, Ashleigh Mathews gives an electric performance as Hamlet, capturing both the intellectual sharpness and tortured humanity of the conflicted prince. From her very first entrance, Mathews commands attention, not just through her mastery of the language, but through her magnetic presence and emotional truth. Her delivery of the iconic soliloquies feels intimate and urgent, as though she’s letting the audience in on Hamlet’s innermost thoughts rather than performing them. She moves seamlessly from quiet vulnerability to explosive passion, embodying the grief, rage, and confusion that make Hamlet one of the most complex characters ever written. The whole performance was perfect. 

Keiren Minter’s Claudius has the commanding presence of a ringmaster at a circus. He’s so evil and charming at the same time, you can’t help but be drawn to him, even as his deceit grows deeper. His Claudius is a masterclass in duality, balancing arrogance and guilt with magnetic ease. His Queen Gertrude, played by the lovely Kaitlyn Kelley, matches his energy beautifully, creating a power couple that radiates both allure and danger. Together, they rule the stage with an intoxicating blend of control and vulnerability, bringing a regal intimacy to their partnership that heightens both the political and emotional stakes of the play. 

My mama’s heart goes to Chihiro Nakazaki’s Ophelia, who is heartbreakingly fragile. Her descent into madness is beautifully nuanced and leaves a lasting ache long after the final curtain. I felt the most sorrow for Ophelia because every male in her life drives her literally crazy, and then the priest doesn’t even want to give her a proper burial. There are lessons here! 

Speaking of Ophelia’s men, Jay Edwards brings both humor and pathos to the meddling Polonius, and Shawn Metz impresses as a passionate and fiery Laertes. Edwards nails Polonius’s overbearing fatherly concern, making his well-intentioned meddling a little amusing and deeply frustrating. Metz, on the other hand, bursts onto the stage with raw intensity, embodying a brother driven by love, loyalty, and righteous fury. His scenes with Chihiro Nakazaki’s Ophelia are tender, offering glimpses of genuine affection before tragedy consumes them both.  

Echo Mitchell offers a grounded and loyal Horatio, serving as Hamlet’s moral anchor throughout the chaos. His time with Carson Clay and Anna Elise Polk as Marcellus and Barnardo is particularly gripping when the Ghost King, played by the spooky Phillip Robbs, makes his eerie entrance. The tension in those early scenes is palpable, as Robbs’s ghostly authority set the tone for the supernatural unease that haunts the rest of the play.  

Adding color and vitality to the court of Elsinore, Aiden Allison and Jett Holbert make a wonderfully witty pair as Rosencrantz and Guildenstern, bouncing off each other like Laurel and Hardy. They cracked me up! Their comedic chemistry is effortless, providing much-needed comic relief amidst the play’s tension. Every shared glance, exaggerated reaction, and perfectly timed line lands with precision, showing how well these two understand Shakespeare’s rhythm and humor. Their playful energy and natural rapport make them an absolute joy to watch. 

Adding more light hearted energy to the production, The Players bring an extra layer of theatrical brilliance to the show. Storm Rogers and Paige Jones shine in their meta-theatrical turns as the Player King and Queen, breathing life into Hamlet’s staged trap for Claudius with emotion and grandeur. Their performance, along with the help of Marseiko Jackson and others, captures the spirit of Shakespeare’s play-within-a-play motif perfectly.  

For anyone who has ever struggled to connect with Shakespeare, this Hamlet is your invitation to rediscover why these words have endured for over 400 years. UCA Theatre proves once again that passion, precision, and proper training can transform classic literature into living, breathing art. Performances continue November 14–16 at UCA’s Windgate Center for Fine and Performing Arts. Tickets are available through the UCA Theatre Box Office. Don’t miss it! 

CREATIVE TEAM 

Production Manager/TD/Photo Credit- Austin Aschbrenner 

Director- Chris Fritzges 

Lighting Designer- Nita Mendoza 

Asst. Lighting Designer- Jackson Ray 

Scenic Designer- Andre Brandao 

Co-Costume Designer- Keagan Styes 

Co-Costume Designer- Shauna Meador 

Asst. Costume Designer/Asst. Director- Ava Godfrey 

Sound Designer- Peter Kha 

Props Coordinator- Nancy Miller 

Arkansas Awards - Live Stats

Best Musical - Top 3

1. CINDERELLA: THE BROADWAY VERSION (Arkansas State University Theatre)

12.6% of votes

2. THE WIZARD OF OZ (Arts One Presents)

12.3% of votes

3. SHREK (The Pocket Theater)

10% of votes

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