Review: St. Louis Shakespeare Festival’s HAMLET is Mid-Century Jazzy Cool

Tom Ridgely’s cool pork pie hat wasn’t the only jazzy thing on the stage at the opening of St. Louis Shakespeare Festival’s production of Hamlet. Ridgely, the producing Artistic Director of St. Louis Shakespeare Festival, welcomed the packed Shakespeare Glen sporting headwear that foreshadowed Director Michael Sexton’s jazzy mid-20th century vibe for his production of Hamlet in Forst Park. 

Seems William Shakespeare is the cool cat in town this spring. Not far from Forest Park, a fictionalized Shakespeare and Anne Hathaway are arguing over the ending of Romeo and Juliet at The Fox Theatre in the touring production of & Juliet. On June 14, Opera Theatre of St. Louis will open the Benjamin Britten composed A Midsummer Night’s Dream based on The Bard’s script.  

Sexton’s vision for the Shakespeare in the Park production of Hamlet is very 1960’s. The actors, donned in Oana Botez's vintage cocktail dress inspired costumes, open the first scene in what looks like an office party straight out of an episode of Matthew Weiner’s period drama Mad Men. 

Botez's costume designs are mostly business suits for the men, but her vintage looks for Ophelia, Gertrude and the other women are sixties chic. Ophelia’s (Sarah Chalfie) youthful cardigan sweater, peg-legged pedal pushers, and flats are reminiscent of Ann-Margret's iconic sixties film looks. Chalfie looks stunning. Botez’s best design though is her striking navy collegiate sweater and white slacks for Rosencrantz (Mitch Henry-Eagles.)  Henry-Eagles is handsomely eye-catching in his preppy college attire.  

Scott C Neale’s seemingly simple thrust set design is impressively versatile with some unexpected mobility. The backdrop was painted with muted period inspired murals and adorned with a handful of mid-century furniture pieces that are currently the rage among interior decorators. The mobility in the set design facilitated a most unique directorial choice for staging Polonius’ murder. The scene highlighted Sexton’s visionary strengths and the collaborative excellence between the director and his set and lighting designers. 

Deniss Chavez lighting design is inspired. Her work illustrates how to animate a set piece. That is not an easy feat in an outdoor setting. Her choice for the “To Be or Not to Be” soliloquy is simplistically brilliant, and her illumination of the apparitions gives the ghost of Hamlet’s father a holographic appearance. 

Chavez’s lighting design intensifies music director and composer Brandon Wolcott’s eerie, jazzy, and industrial sound design. Supported by Brady Lewis’ musicianship with his moaning trumpet, Wolcott’s sound sets a foreboding mood that was as memorable as any of the virtuosic acting performances from the accomplished ensemble.  

Wolcott’s powerful sound design was interrupted by too many missed cues from stage management and the board operators. At least a dozen times microphones were potted too late leaving the Ghost, Claudius, Polonius, Ophelia, and Gertrude’s lines inaudible. Seated in the boxes the actors projected enough for the paying audience to hear, however audience further back in the glen must have been frustrated by the missed cues. 

Sound is a pet peeve, but this minor nuisance was neither a production spoiler nor an insurmountable problem that cannot be overcome. Out of fairness to the technical team, they lost a preview performance the night prior due to a cast member injury that would have given them another opportunity to work out these glitches prior to opening night.  

Back to the accomplished ensemble of actors. This is a young company of consummate actors that are well rehearsed, fluent in unrhymed iambic pentameter, conversational, expressive, and emotive. Their fully realized performances and articulation make the Shakespearean dialogue entertaining, accessible, and understandable even for a novice audience. Credit director Michael Sexton’s preparation of his ensemble and the outstanding performances of the entire company.  

While the entire company delivers marvelous portrayals, three were stellar in their magnificence. Michael Khalid Karadsheh’s Hamlet was cunning and resolute in his commitment to revenge his father’s death. His “antic disposition” always kept him just on the edge between sanity and madness. He portrays Hamlet as a sympathy eliciting antihero.  

Sarah Chalfie’s Ophelia is charming with an affectionate naiveté. The physicality in her performance catalyzes audience comprehension of the text. Her emotive portrayal is remarkable in its authenticity, as is her convincing descent into depression and madness.  

Grayson DeJesus stepped into his role as Laertes with barely four hours of rehearsal time. De Jesus was a late replacement for an injured cast member and learned on Thursday he would be taking over the role for the three-week run. He was captivating in his portrayal of Hamlet’s foe and astounding in his versatility. It is stupendous work by an accomplished actor who is clearly a world-class performer.  

The late recast of Laertes wasn’t the only issue the St. Louis Shakespeare Festival faced getting this production mounted. The entire set and lighting towers suffered considerable damage during the recent tornado that destroyed much of midtown St. Louis. Kudos to this entire company for their resilience and commitment to opening this production as scheduled.  

Often a modern take on a classic will go awry, but Michael Sexton’s brilliant vision creates a phenomenal retelling of Hamlet. His collaboration with his actors and designers gives this production its very cool retro and jazzy vibe. The show’s running time clocks in at just under three hours. It is well paced, moves along expediently, and is masterful storytelling. This is an excellent production that is entertaining for the masses, not just for the Bardolators.  

Get thee to the Shakespeare Glen in Forest Park before this production closes.  

The St. Louis Shakespeare Festival’s production of Hamlet continues through Sunday, June 22, 2025. Admission and lawn seating in the glen is free, however reserved seating is available and can be purchased by clicking the link below.